I consider myself a traditional photo artist. Once a purist, I was a critic of the development of digital photography. My former work, mostly landscape prints handcrafted in the darkroom, felt
obsolete in the digital era where new methods of mass production and editing became easy and accessible to everyone. I even stopped taking photos.
However, for me, art is not a refuge of nostalgia but an expression of the present. I returned to photography, unable to resist the digital techniques which captured the present even more precisely than traditional methods, allowing me to produce images quickly and urgently.
My first experiments in digital photography centered on speed and the possibility of unlimited mass production, which have become the main elements in the creation of my work. I was now able to create and capture movement, a significant theme in my work.
My method is based on rapidly and randomly taking a large series of photos. I no longer focus on the search for a subject and theme, or the composition of light and colours, as I did in my earlier work. Now I focus on the selection of a photo and the deleting of others. The decision of whether a photo will disappear or remain is a quick and intuitive act.
I rejected the volume, speed and ease of photo production in the digital age only to eventually embrace it. My hope is that my process – based on the large consumption of images and their
disposability, instinct and intuition, randomness and coincidence – will create a series of images on which the viewer may project their own dreams and stories and visions. Maybe within these
images there exists elements of a collective unconsciousness.