Images in Transit
This series brings together photographs made at different moments and in different places throughout my life. Cities, journeys, friends, encounters, bodies, landscapes, and everyday situations appear without attempting to form a linear narrative.
The images are connected by a shared material quality: the grain of black-and-white film. More than an aesthetic process, grain becomes a form of continuity between scattered experiences, a common surface on which different memories can coexist.
The series remains open. Photographs enter and leave it: some eventually find their place within larger projects, while others remain as autonomous fragments of an experience that has not yet found its name. Rather than documenting a specific city or period, the series gathers what exists around my other projects: moments lived, people encountered, places crossed, and situations whose meaning often appears only afterward.
In this sense, the series functions as a transitional space within my photographic practice. It is a place of waiting and transformation, where images can exist before becoming something else.
Black and white and the grain of the film form the thread connecting these images. What matters is not necessarily where each photograph was taken, but the possibility that, when placed side by side, they begin to reveal relationships that were not visible at the moment of their creation.
The images are connected by a shared material quality: the grain of black-and-white film. More than an aesthetic process, grain becomes a form of continuity between scattered experiences, a common surface on which different memories can coexist.
The series remains open. Photographs enter and leave it: some eventually find their place within larger projects, while others remain as autonomous fragments of an experience that has not yet found its name. Rather than documenting a specific city or period, the series gathers what exists around my other projects: moments lived, people encountered, places crossed, and situations whose meaning often appears only afterward.
In this sense, the series functions as a transitional space within my photographic practice. It is a place of waiting and transformation, where images can exist before becoming something else.
Black and white and the grain of the film form the thread connecting these images. What matters is not necessarily where each photograph was taken, but the possibility that, when placed side by side, they begin to reveal relationships that were not visible at the moment of their creation.
In Self-Portrait with Nude Subjects in Paris, mannequins stand behind glass, stripped of origin or function. My reflection appears among them, faint and uncertain—a fleeting presence dissolving into the surface of the city. Paris, with its luminous promises and invisible thresholds, reflects the duality of desire and displacement that runs through the work.
