What is your work about?
Traces of light, distorted signals, shifting echoes — a dialogue between stillness and motion, presence and memory.
Why analog?
Because it resists perfection. Grain, noise, unpredictability — each process leaves its own imprint.
And digital?
A signal, a transmission, a transformation. Nothing remains unchanged.
Photography, video, or sound?
All of them. It's where they intersect — where one medium dissolves into the next.
What are you looking for?
The moment when an image fractures into sound. When noise becomes form. When time leaves its mark on the signal.
What connects it all?
Transformation. Exploration. Things that seem distant from each other until they suddenly aren't.
Beings caught in interference. Figures that persist through noise, drift across frames, accumulate — a series where the signal is never quite clean, and what survives the static becomes the story.
GIF
scenes
Video art, glitch experiments, and works outside the series — each piece its own closed circuit.
Traces of light imprinted on film. Analog photographs where chemical processes, multiple exposures, and temporal distortions reshape perception. Each image is a fragment — an imprint of a moment suspended between reality and abstraction.
Film chemistry and circuit-bent video processors share the same logic: introduce a controlled perturbation into the system, harvest meaning from what comes back. Whether it's lith developer over a print or a hand-modified signal through analog hardware — the unpredictable result becomes another layer of the work, not an accident to correct.
Frames layered over frames — the camera as a device for accumulation. Double and multiple exposures, exposed-both-sides film, combined techniques that collapse time and space into a single image.
Film submerged, boiled, or treated with chemical agents before or after exposure. The emulsion becomes unstable — colors shift, textures dissolve, familiar forms surrender to the chemistry.
Photographs found in the street, in family archives, in forgotten albums. Images that belonged to other lives, other gazes — collected, recontextualized, returned to circulation.
A roll of film shot once, mailed across a distance, shot again. Two gazes, one frame. Collaborations where the chemical overlap between two photographers becomes the final image — neither's vision entirely, both at once.
Sound as an extension of texture and movement. From immersive soundscapes to rhythmic deconstructions, each composition emerges from an interplay of layers, distortion, and evolving patterns.
Synthesized tones, organic textures, manipulated recordings — sonic explorations that exist in conversation with the visual. Some pieces carry their own audio; others are silent. The resonance is sometimes literal, sometimes implied.
from bandcamp
Notes on what's in progress — between series, between mediums, between what's known and what's still being figured out.
Selected exhibitions and events where this work has unfolded.
IRL
Web3
An Olympus compact, always somewhere in the house. Gatherings, celebrations, ordinary afternoons — photographed, taken to the lab, returned as something you could hold. That ritual of waiting, of not knowing exactly what would come back, never lost its pull.
Fifteen years in music followed: teaching production, DJing, composing for films and games and bands across a city that empties every winter and floods every summer. Mar del Plata — coastal, seasonal, somewhere between the crowded beach and the deserted one — a place that teaches you to work in solitude.
Photography became experimental slowly. Video arrived last, built from the ground up: analog mixers, hand-modified processors, months of research into machines that could be made to behave unexpectedly.
Curiosity-driven, self-taught, moving across mediums and disciplines without a fixed destination.