I initially started taking pictures because I felt a need to express the way I saw things, but also because I have a deep fear of forgetting, which initially led me towards documentary photography. However, I do not have a definite genre I like to work with. Thus, my work fluctuates between documentary and fashion photography.
When taking documentary photography I usually start with something very personal which eventually leads me to more universal themes. For instance, a photo and video documentary I made about my personal experience of the first lockdown in 2020 led me to reflect on the themes of loneliness and isolation. More recently, I made a project on my grandparents that, even though extremely personal, approached themes that everyone can relate to such as unhealthy power dynamics in relationships, and mental health.
When I feel like I need to take a step back from documentary, I tend to turn towards fashion, which allows me to have more creative freedom. If my surroundings, my home, the city, are my usual playgrounds for fashion, I also thrive in the studio where I get to create a whole set from scratch and experiment with lights. No matter what I’m working on, whether it is fashion or documentary, I try to stay true to a very specific aesthetic.
There is a strong sense of nostalgia in most of my pictures. The images are not sharp, they are fading, just like a memory would, they are distorted, blurry. There is no accurate and universal representation of reality in my work. The goal is always to reflect my very own perception of the world that is and that the world that was, all through the prism of my emotions.