My artistic approach is part of a reflection on the status of the image and its relationship to time. Initially developed using old photographic processes and alternative techniques, it has been built on a physical and attentive relationship with the material, the slowness of the processes, and the instability of the media. These practices have shaped a conception of the image as a fragile medium and a unique object.
As a cultural response to contemporary visual saturation, this search for singularity has shifted towards a posture of restraint. Suspending my own production has become a critical gesture, paving the way for a work of reactivating archives. Today, I explore early 20th-century vernacular photographs on glass, whose intrinsic fragility makes the thickness of time perceptible. Alterations, cracks, and erasures become active signs, carrying a memory in transformation and an almost palpable poetry.
Through stratification and recomposition, each work is conceived as a palimpsest, where survival and disappearance, shadow and light, past and present intersect. The notion of present absence runs through my entire approach: creating from what is missing, with a sensitive sobriety of gaze, attentive to what persists and what remains.