Images in Transit
This series brings together photographs made across different moments and places in 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 materiality: the grain of black-and-white film. More than an aesthetic device, grain becomes a form of continuity between scattered experiences, a common surface through 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: lived moments, people encountered, places crossed, and situations whose meaning often emerges only in retrospect.
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 act as the thread holding these images together. What matters is not necessarily where each photograph was taken, but the possibility that, when placed alongside one another, they begin to reveal relationships that were not visible when they were made.
In Self-portrait with naked subjects from Paris, mannequins stand behind glass, stripped of origin or purpose. My reflection appears among them, faint and uncertain —a fleeting presence dissolving into the city’s surface. Paris, with its luminous promises and invisible thresholds, reflects the duality of desire and displacement that runs through the work.
