These images and projects represent the journey to the centre of my labyrinth. They are the milestones in my way to find my unique artistic voice and ultimate message. 

Over the years I have developed a body of work always around the theme of “the interdependence between image and psyche”; a work done by the necessity of responding to an “inner” call: To represent the invisible universe of the ulterior self. 
My first works around this theme were a video, and a photography sequence as part of a collective exhibition called ‘Grito’ – Shout –. In the video, I represented mental entities coming to the surface from the dephts to release a loud cry of despair, anger or fear. In the photography sequence, I portrayed the fragmentation process of a psyche through a psychological scream. These pieces set the aesthetic and conceptual tone for a series of photographic works that were produced afterwards exploring the same topic.

‘Kiss and Caress’, ‘Light Burden’, the ‘Close-up’ series and ‘Ulterior’ are images and photographic projects included in this portfolio that look inwards and away from the photographic norm, to reveal invisible dimensions through visual speculation and uncertainty. The form and the content are always interdependent and they give meaning to each other; a synergy that takes observers closer to an immaterial self, that lingers in an ulterior world where the eye is not in control.

Grito. Video and C-Type photography sequence Grito, – shout – was one of my first works. It consists on a video, and a photography sequence. In the video, I represented mental entities coming from the depths to the surface to release a loud cry of despair, anger or fear. With the photography sequenced I portrayed the fragmentation process of the psyche through a psychological scream. These pieces were presented in a collective exhibition in 2006.

Grito. Video and C-Type photography sequence

Grito, – shout – was one of my first works. It consists on a video, and a photography sequence. In the video, I represented mental entities coming from the depths to the surface to release a loud cry of despair, anger or fear. With the photography sequenced I portrayed the fragmentation process of the psyche through a psychological scream. These pieces were presented in a collective exhibition in 2006.

 
Light Burden. Diptych I. (70 cm x 100 cm). C-Type photographs Light Burden is a work-in-progress project that was born during the workshop “The Psychology of Home: Picturing the Domestic” with photographer Jen Davis at the ICP in New York.  In this series I explore different psychological states by using light as a representation of specific thoughts that interact physically with the subject. I decided to recreate a parallel dimension where there is no differentiation between the physical and the psychological and therefore thoughts manifest themselves in the form of material light and act on individuals from the outside.  My main intention is to represent the individual mental universes that remain hidden from the physical world and the public domain and have dramatic effects on the individual’s well-being.

Light Burden. Diptych I. (70 cm x 100 cm). C-Type photographs

Light Burden is a work-in-progress project that was born during the workshop “The Psychology of Home: Picturing the Domestic” with photographer Jen Davis at the ICP in New York. 
In this series I explore different psychological states by using light as a representation of specific thoughts that interact physically with the subject. I decided to recreate a parallel dimension where there is no differentiation between the physical and the psychological and therefore thoughts manifest themselves in the form of material light and act on individuals from the outside. 
My main intention is to represent the individual mental universes that remain hidden from the physical world and the public domain and have dramatic effects on the individual’s well-being.

 
Kiss and Caress, Diptych (100x70cm & 50x70cm). C-Type photographs In my early years working with photography, I created unintentional images with a heavy psychological load, that totally escaped the type of work I was doing in order to comply with the mainstream photographic norm. These images were immediately cast out from my portfolio, but fortunately, never deleted or lost. I already knew that there was something strong and unique to them that belonged only to me, but I was afraid to share at that time.  “Kiss and Caress” is a diptych that portrays my mother’s mouth and fist as a representation of the misperception and lack of knowledge about the concept of “Love” in dysfunctional families as it was my family. The use of a diptych reinforces the notion of “Love” as a sensory experience result of the sum of primordial gestures such as kisses and caresses.

Kiss and Caress, Diptych (100x70cm & 50x70cm). C-Type photographs

In my early years working with photography, I created unintentional images with a heavy psychological load, that totally escaped the type of work I was doing in order to comply with the mainstream photographic norm. These images were immediately cast out from my portfolio, but fortunately, never deleted or lost. I already knew that there was something strong and unique to them that belonged only to me, but I was afraid to share at that time. 
“Kiss and Caress” is a diptych that portrays my mother’s mouth and fist as a representation of the misperception and lack of knowledge about the concept of “Love” in dysfunctional families as it was my family. The use of a diptych reinforces the notion of “Love” as a sensory experience result of the sum of primordial gestures such as kisses and caresses.

 
Close-up III, Diptych (100 cm x 70 cm each ). C-Type photographs The eyes close-up in this diptych was one of the first images that provoked a deep, emotional and intellectual effect on me. I felt I was surpassing a mental barrier with my photographic work. The unfocused nature of this image put a world of uncertainty and speculation in front of me. I felt drawn to those blurred eyes; eyes that live in an immaterial dimension where things are felt rather than seen. A dimension in which the observer needs to get very close and touch beyond the skin to understand. My deep interest in cinematographic montage makes me explore through diptychs and triptychs the idea of the mental image as a construction of visually juxtaposed sequential images.

Close-up III, Diptych (100 cm x 70 cm each ). C-Type photographs

The eyes close-up in this diptych was one of the first images that provoked a deep, emotional and intellectual effect on me. I felt I was surpassing a mental barrier with my photographic work. The unfocused nature of this image put a world of uncertainty and speculation in front of me. I felt drawn to those blurred eyes; eyes that live in an immaterial dimension where things are felt rather than seen. A dimension in which the observer needs to get very close and touch beyond the skin to understand. My deep interest in cinematographic montage makes me explore through diptychs and triptychs the idea of the mental image as a construction of visually juxtaposed sequential images.

 
Close-up I (100 cm x 70 cm). C-Type photography With the eyes close-up – Close-up III – in mind, I began working on a series of portraits that represented a real encounter between the portrayed subject and its observer in an ulterior dimension. I used the extreme close-up in this self-portrait as a device to visually articulate a magnificent inner self that desperately tries to stay on the surface before sinking again into the depths of the psyche. 

Close-up I (100 cm x 70 cm). C-Type photography

With the eyes close-up – Close-up III – in mind, I began working on a series of portraits that represented a real encounter between the portrayed subject and its observer in an ulterior dimension. I used the extreme close-up in this self-portrait as a device to visually articulate a magnificent inner self that desperately tries to stay on the surface before sinking again into the depths of the psyche. 

 
 Close-up II, Diptych (100 cm x 70 cm each ). C-Type photographs My need to go deeper and deeper into the immaterial world of the psyche fuelled a photography series that would explore its inner realm. Many different concepts were mixed in other to produce a series of portraits that would end up as the “Ulterior” series.  

 Close-up II, Diptych (100 cm x 70 cm each ). C-Type photographs

My need to go deeper and deeper into the immaterial world of the psyche fuelled a photography series that would explore its inner realm. Many different concepts were mixed in other to produce a series of portraits that would end up as the “Ulterior” series.  

Ulterior series, Diptych ( aprox 80 cm x 70 cm). C-Type photograph Ulterior is a series that operates formally and conceptually at many levels. My intention of portraying the immaterial realm of the psyche, specifically the world of mental disorders, took me into a journey of endless conceptual possibilities. The content and the form in this series are deeply interconnected and they give meaning to each other. Mental health is a subject that is not treated openly in society. It still carries a label of taboo topic due to the inconclusive knowledge attained over the past century resulting in divergent clinical visions about the matter. This is not a light topic to me because I have suffered depressive episodes and cyclothymia for almost ten years already. I wanted to create a series of images that disrupt the visual stereotypes about mental disorders and provoke disorder, disruption and instability instead of representing them.

Ulterior series, Diptych ( aprox 80 cm x 70 cm). C-Type photograph

Ulterior is a series that operates formally and conceptually at many levels. My intention of portraying the immaterial realm of the psyche, specifically the world of mental disorders, took me into a journey of endless conceptual possibilities. The content and the form in this series are deeply interconnected and they give meaning to each other.
Mental health is a subject that is not treated openly in society. It still carries a label of taboo topic due to the inconclusive knowledge attained over the past century resulting in divergent clinical visions about the matter. This is not a light topic to me because I have suffered depressive episodes and cyclothymia for almost ten years already.
I wanted to create a series of images that disrupt the visual stereotypes about mental disorders and provoke disorder, disruption and instability instead of representing them.

Ulterior series, Diptych (aprox 80 cm x 70 cm ). C-Type photographs Ulterior was performed as an aesthetic vivisection in an attempt to reach the core of the self, resulting in the poetic visualisations of a broken soul.  

Ulterior series, Diptych (aprox 80 cm x 70 cm ). C-Type photographs

Ulterior was performed as an aesthetic vivisection in an attempt to reach the core of the self, resulting in the poetic visualisations of a broken soul.  

Ulterior series, Diptych (aprox 80 cm x 70 cm ). C-Type photographs

Ulterior series, Diptych (aprox 80 cm x 70 cm ). C-Type photographs

 
Labyrinth. Diptych (aprox 80 cm x 80 cm ). C-Type photographs Beyond the ‘Ulterior’ series, ‘Labyrinth’ is the first composition that I’ve created about codependent relationships, expanding my artistic exploration of the psyche, from individual to collective disorders. I decided to follow the same formal principles to discover how far can I go with this aesthetic approach.  ‘Labyrinth’ is based on the myth of the Minotaur and it focuses its attention on the main human characters: Ariadne and Theseus, who used each other to escape from their particular labyrinths. 

Labyrinth. Diptych (aprox 80 cm x 80 cm ). C-Type photographs

Beyond the ‘Ulterior’ series, ‘Labyrinth’ is the first composition that I’ve created about codependent relationships, expanding my artistic exploration of the psyche, from individual to collective disorders. I decided to follow the same formal principles to discover how far can I go with this aesthetic approach. 
‘Labyrinth’ is based on the myth of the Minotaur and it focuses its attention on the main human characters: Ariadne and Theseus, who used each other to escape from their particular labyrinths.