mare verticale

I place myself within an intermediate space, one that belongs neither to stillness nor to a true crossing. It is precisely this threshold, where time thickens, that becomes the premise of the entire work. The sea ceases to be background or horizon and asserts itself as an imposing presence: motionless, almost vertical. I insist on framing the surface of the water, reducing its depth and removing narrative references until it becomes a visual threshold. Each image subtracts. The slowness of the ship becomes the slowness of my gaze, and of what happens without announcing itself. In this way, I construct an archive of intervals. The photographs hold a time that never resolves, remaining suspended between what has been and what is yet to come. The sea persists as a constant element and, in its apparent stillness, reveals the possibility of another experience of water: no longer a landscape to cross, but an element of waiting. The sea remains. And in its remaining, time comes to a standstill.

urban skin

Empty urban spaces and fragmented bodies begin to mirror one another, dissolving the boundary between figure and architecture. Through this visual dialogue, the series reflects on isolation, distance, and the fragile forms of connection that emerge within a dystopian city.

bloom and fade

Nude bodies and floral forms meet as temporary surfaces: exposed, arranged, and already beginning to disappear. Drawing from the unease of Black Mirror, the series reflects on beauty as something both living and manufactured, shaped by fragility, repetition, and control. Flowers become decoration, camouflage, and decay. The body becomes image. Between bloom and fading, the photographs question where the natural ends and the artificial begins.