Born in Bogotá, Colombia, and based in New York City since 2014, my practice treats photography as a constructive and material discipline — a method for assembling conditions of recognition rather than capturing moments.

Over nearly two decades I have worked with fashion designers, musicians, and artists, while developing a parallel body of work organized through four methodological coordinates: ontological (being and presence), gnoseological (forms of knowledge and perception), anthropological (human behavior, ritual, and recurrence), and aesthetic (form, composition, and visual tension). These coordinates guide how objects, gestures, and spatial relationships are composed across serial bodies of work.

The practice draws from the visual traditions of Renaissance balance, Baroque dynamism, and the material illusionism of early modern still life — not as historical references but as operative structures that shape how images are built and read. What interests me is the structural continuity between historical periods: the gestures that return, the tensions that reappear, the forms that reorganize themselves across time.

At the center of this work is the conviction that matter does not disappear — it shifts position, changes function, and persists through transformation. Photography, understood this way, is less a tool for representation than a discipline for making those shifts visible.