My work has long been rooted in the tactile, unpredictable nature of analog photography—its textures, its imperfections, its connection to time. Recently, I’ve been exploring the integration of various mixed media techniques: collage, overpainting, and digital interventions, including the use of AI. These tools are not meant to replace the organic qualities of film, but to expand the ways I engage with themes of memory, dreams, and the ephemeral.
This exploration is not about technology for its own sake, but about using diverse materials and methods to deepen the poetic ambiguity that has always been central to my analog practice. In blending the tangible with the generative, I seek to navigate the space between what is captured and what is imagined—between the seen and the sensed.
ƧV00ƖƎ (Abyss of the birds), 2022
Tangle of rainbows (for the Angel who announces the end of time), 2022
٢ट8Ɛ (Abyss of the birds), 2022
AƐ (The birds), 2022
Untitled (horses and a blazing tree), 2022
Interlude (next to silence), 2022
Nightfall (pastoral), 2022
Meditation n° 1, 2022
Meditation n° 2, 2023
Description without place - I, 2022
Description without place - II, 2022
Seeming as being, 2023
Being in seeming, 2023
Child, 2022
L'Ascension (Offret), 2022
Lostfound, 2022
it is (and) it isn’t, 2022
it is (and it isn’t), 2022
(it is and) it isn’t, 2022
it (is) and it (isn’t), 2022
(it is and it isn’t), 2022
Foreboding visions (shadowed landscape), 2022
an ending, a beginning, 2022
Niv, 2023
the finished river, 2023
Senking, 2023
Tabula rasa, 2022
Ludus, 2022
Silentium (repeat one), 2022
leila au pays du carrousel, 2023
clr :: memory residue, 2023
rooftops are trembling under the burden of days, 2024
The Drifter, 2024
The Murmur, 2024
Lith #1 (Beasts Beyond the Mist)
Lith #2 (The Bison)
Lith #3 (Sentinel by the Shore)
Lith #4 (The Beast)
VBRTN, 2022
Fermata, 2023
Awakening (Disintegration Loop), 2025
Halcyon, 2022
(and echoes are seldom more than a bark, no matter how pure-voiced the caller), 2024
dismantle (with blur), 2023
