My practice originates from a fundamental dissonance: our senses are at once the threshold through which reality becomes accessible and the boundary that confines us to a partial, situated experience of it. What we regard as objective knowledge is not a transparent window onto the world, but a construction stabilized within shared perceptual constraints. Rather than attempting to overcome this condition through representation, my work interrogates the very structures through which observation takes place.

Photography stands at the center of this inquiry — not as a documentary medium, but as a site of epistemological experimentation. Historically developed to reproduce the visible world in alignment with human vision, photography has progressively refined its fidelity to our sensory expectations. My practice deliberately diverges from this trajectory. Through the design of custom optical systems, mechanical devices, and controlled environments, I reconfigure how light, time, and space are registered during image formation, transforming the camera into an autonomous, non-human observer. My intervention occurs entirely before the image exists — at the level of the perceptual model embedded within the apparatus itself. The resulting images are generated in-camera, without post-production, and remain faithful to the observational logic that produced them.

I refer to this condition as Illusory Realism. The images appear abstract or unfamiliar not because they are altered, but because they originate from a mode of perception that differs from our own. They are realistic insofar as they truthfully describe what the apparatus registers, and illusory only in relation to the expectations of human vision. What is questioned is not the truthfulness of the image, but the assumption that our senses provide an exhaustive access to reality.

My studio operates as a hybrid space where technological invention meets artistic investigation. It is where I conceive, fabricate, and test the experimental devices that extend the camera’s reach — chromatic algorithms, optical filters, alternative shutter systems, bespoke optical instruments — alongside custom-made scenic elements, lighting solutions, and mechanical components. I carry out each phase of the process myself, from theoretical research and technical prototyping to physical construction and final printing, as this is both an artistic necessity and the only way to ensure that each work remains coherent with its conceptual foundation.

By constructing modes of observation that differ from our own, the specificity of our perceptual condition — its reach, its constraints, its silent assumptions — becomes visible to us. The attempt to see beyond the boundaries of human perception is also, and perhaps above all, an inquiry into the observer itself. What lies beyond our perception ultimately tells us something about who we are.