My artistic research originates from a deeply inner journey, one that does not necessarily arise from an aesthetic impulse, but from an emotional one. My inspiration takes shape from a personal experience marked by anxiety, work-related pressure, and a sense of disorientation in the face of a world that is changing in ways different from how I had imagined. From this

discomfort emerged a strong need for escape, a drive toward the search for beauty—especially within nature and the emotions it is able to evoke.

I felt the need to slow down and to give myself time. Within this space, I gathered what truly belongs to me: travel, drawing, sport, and photography. These disciplines are not separate territories, but parts of a single expressive path—different tools for exploring both myself and reality.

My relationship between photography and drawing exists in a border zone, in an “in-between art.” I do not seek the perfect drawing, nor the technically flawless photograph. Rather, I seek a language that leaves room for interpretation, that does not impose a single reading, but

instead opens the door to the viewer’s emotions.

I believe that a technically perfect photograph is not necessarily an image that moves something inside us. What truly interests me is that subtle imperfection which makes a work alive,

My photographic research is developed entirely within the world of analog photography, a conscious choice rooted in the desire to maintain a direct, physical, and meditative relationship with the image. I work with three different film formats: 35 mm small format (roll

film), 120 medium format (roll film), and large format with sheet film. Each format possesses its own visual identity and expressive language, deeply influencing the final result.

For medium and large format photography, I use cameras that have shaped the history of postwar photography, tools that still represent absolute references for quality and precision today: the Rolleiflex f/2.8, the Hasselblad 500 CM, and the Sinar P2 8x10. These cameras are

not merely technical instruments, but true travel companions that impose slowness, attention,

and awareness in every single exposure.

A fundamental chapter of my work is infrared photography. The human eye can perceive light up to approximately 740 nanometers; beyond this threshold lies infrared light, invisible to our vision. I use special films that can record infrared radiation while capturing almost none of what is visible to the human eye. The result is a profoundly altered, suspended, and surreal image, in which reality is transformed and an intense, unexpected emotional dimension emerges.

The printing process is just as important to me as the act of photographing itself. I work mainly with two techniques: silver gelatin printing, produced in the darkroom using an enlarger, and contact printing in platinum-palladium (platinotype). The former allows for refined control over contrast and tonal gradation; the latter produces images of extraordinary depth, material presence, and archival permanence. In both cases, printing is not simply a technical step, but the true completion of the creative process.