My artistic, photographic, performative and conceptual works use the registers and the parameters unique to the mediums to allow for new fashionings of the world and of reality. From the single image to multi-image narratives and bookstills, from the tools and materials used to the modes of production, dissemination and exhibition, the engagements with the formal, structural and stylistic underpinnings of artistic and photographic practice dismantle categories and overcome conventional genres and projects.

These creations and explorations often fuse mediums and genres to create new ones, fashion new forms, launch new discursive practices, incite the formation of new fields and terrains of searching, researching and explorations, and constantly verge towards new disciplinary formations. Always considering sites and non-sites, circulations, fabrications, modalities of actions and non-actions, the forms of interactions between all the players, the institutions, the organizations, the organs, in effect, of construction and transformation. Conceiving and implementing artworks while always interrogating and engaging critically with the modalities of presentation, the nature of the object, the history and legacy of exhibitions, the nature of coming in to the world, the legacy of the canons, the various fetishisms, the commodification, the valuation. Considering then, the economy of the trace… Starting at the beginning, too. At the moment of the tracing. The conception of the tracing. The consciousness of the conception of the tracing.

The photographic body of work is not only about the creation of a narrative about different places, but involved in different types of approaches to image/photo creation, fashioning new paradigms, exploring the unique parameters of the form and its multifarious relationships with reality. Each instance of the photographic venture (they can occur simultaneously) puts into motion queries, research, an adventure of sorts. The overall oeuvre constitutes a theory in motion, a discourse in constant search of the possibilities of art and photography in relation to its own histories and those of image-making and writing in general. Photography, and, in turn, other artistic ventures in their specificities become unique languages, systems of scriptural intervention, global onto-architectonic critiques of–and meditation on–ways of seeing, ways of knowing, and the very poetics of leaving traces: of graphisms and our endless attempt at marking and making the world anew.