Dance Notes

Dance Notes is a long-term project structured into six interconnected chapters. Developed over more than three years, the series constitutes a photographic investigation into the nature of space and time, observed through the lens of perception. Ballet is approached not as a subject to be portrayed, but as a framework through which gesture and temporality are explored. The photographs are created entirely in-camera, without digital alteration, using instruments conceived and built in close relation to the evolving nature of the work. Each image emerges from a dialogue between intention, perception, and the material conditions of capture. As the series unfolds, the act of photographing becomes a space of inquiry—one in which the boundaries of visibility are tested, and the real appears not as given, but as constructed through looking. The series unfolds as a perceptual investigation, where the photographic act becomes a strategy to access realities that remain invisible to conventional forms of vision.

DéVoilées

DéVoilées is a photographic series composed of portraits that withhold as much as they reveal. Each image depicts a woman seen from behind, immersed in a space that resists precise definition – an interior suspended in time, where draped fabrics soften every contour and silence saturates the frame. Identity, context, and narrative are never disclosed; what takes shape instead is a perceptual condition, where the act of seeing unfolds between presence and projection, intimacy and distance. The series does not aim to document or describe, but to establish a state of visual suspension. Faces are absent, settings remain indeterminate, and yet the images insist on a quiet form of engagement. They do not impose meaning, but elicit it, drawing the viewer into a space where the incomplete becomes generative. What is withheld becomes a necessary part of what is seen. Free from any manipulation, each image results from a confluence of in-camera mechanisms – a set of custom technologies – that introduce subtle deviations in how light and color are registered. These variations remain discreet, felt more than observed, and contribute to the sense of visual displacement that defines the series.

Early Works

Early Works brings together a selection of early photographic experiments that, while not conceived as a unified series, already reveal the conceptual and technical premises that would later define an entire body of research. These images are not bound by narrative, but by a shared method—one that treats photography not as documentation, but as an open inquiry into the limits of perception. Optical filters, chromatic algorithms, and painted backdrops—elements all developed in parallel with the making of the works—begin here to form a visual language that is both precise and unstable. Subjects appear less as protagonists than as occasions for the image to exist; the photograph becomes a speculative space in which the boundaries between vision, illusion, and reality begin to blur. What emerges is a sense of visual estrangement—images that seem to reflect the world, yet resist being fully deciphered. Already in these first gestures, the foundations are laid for a photographic practice rooted in instability and in the construction of perceptual doubt.