Artist Photographer – Fine Art Photography
As an artist photographer, my work consisted of images that were exclusively created using analogue photography, without filters, combined with manually altered Polaroid SX-70 images that were later enlarged. This early work laid the foundations of my practice as an artist photographer, where artistic (fine art) photography becomes a space for interpretation, materiality, and visual exploration.
This founding process profoundly shaped my eye and my approach to the image.
The Polaroid SX-70, whose emulsion remains “liquid” for several tens of minutes after exposure, allowed for direct physical intervention on the image: pressure, pinching, rubbing, thermal variations. Through this manual work, the image shifted and transformed, gradually reaching a state close to watercolour, without any addition of paint.
As the Polaroid SX-70 is no longer produced, I continue this work of artistic photography using digital tools, while strictly preserving the square format, the spirit, and the aesthetic principles of the original process.
The square image is altered using an approach equivalent to that applied to Polaroid, faithful to the original intention: not to “work” the image in a decorative or illustrative sense, but to reveal it, to subtly move it beyond reality in order to extract its essence. This approach defines my practice as an artist photographer.
In the same way, my so-called “traditional” images have evolved from analogue to digital photography.
These photographs, always rectangular in format, maintain a constant requirement: no retouching, no artifice—the subject as it is.
When my images appear pictorial, this impression results solely from framing and subject choice, never from the use of filters (except, on occasion, a polarizing filter) or digital effects. This rigour is central to my vision of artistic photography and to my identity as an artist photographer.
All works are signed and produced in strictly limited editions of fifteen prints, all formats combined, in order to preserve their rarity and their status as collectible objects.
Please contact me for information regarding available prints and pricing.
A text by Truman Capote, taken from The Dogs Bark (Random House), expresses with remarkable clarity my way of observing and selecting an image:
“Reflected reality is the essence of reality, the truer truth.
When I was a child I played a pictorial game. I would, for example, observe a landscape; trees and clouds and horses wandering in grass; then select a detail from the overall vision – say, grass bending in the breeze – and frame it with my hands. Now this detail became the essence of the landscape and caught, in prismatic miniature, the true atmosphere of a panorama too sizable to encompass otherwise.
Or if I was in a strange room and wanted to understand the room and the nature of its inhabitants, I let my eye wander selectively until it discovered something – a shaft of light, a decrepit piano, a pattern in the rug – that seemed of itself to contain the secret.
All art is composed of selected detail, either imaginary or (…) a distillation of reality.”
