Redlist #6. October 2025. Arcadia
New issue of the Redlist. The Magazine includes 74 pages with two photography stories about of Arcadia and an article about François Reichenbach's 1954 film Nus Masculins and a poem by Charlie Zacks
Redlist Magazine is a periodical publication where I show my works with texts and collaborations.
There is a guest.
How we perceive permits shapes the images we can take. This raises questions about access friendship, privacy, and desire on photography.
Romantic Ideal.
Exhibition May - August 2025
This is one of the works I contributed to the show "Romantic Ideal", curated by Slava Mogutin in New York City and featuring a group of queer artists. This show holds special significance for me because it is friendship in a shared community what brought together the artists. Beyond the complexities of queer love, desire, and identity explored in the exhibition, friendship—and the radical act of reclaiming its meaning—feels essential to building a sense of belonging.
Vencer. Redlist Magazine #5. July 2025
This series of images is part of the project "Vencer," published in Redlist magazine in July 2025. This work investigates the commodification of the male body for the purposes of war. The series addresses how, through the process of conscription, the subject loses control of his own body, which becomes just another tool, leaving him only his emotions as his own.
The photographs are accompanied by two articles written by Alexander Schneider and Daniel Borrillo for this project to invite to think on this topic.
Series on the body
The photographs on this series explore the body, focusing on movement and intimacy in a minimalist context-free setting that emphasizes emotion and gesture.
In Construction
The magazine Behind the Blinds published a conversation between me and the fashion designer Cyril Bourez in Brussels, around the notion of construction - both in terms of the process of making the garments and the creating of self as an individual - in collaboration with the dancer and model Wilchaan Roy Cantu on a series of dynamic images we shot the three of us together that day in Brussels.
Self Portrait
Every photograph has an element of self-portrait of the person who takes it or, rather, of the person who thinks of it or of the person who exhibits it. Taking a photograph of oneself does not have to be a self-portrait of the person who activated the mechanism of a camera; it can be of someone else, even if it is not their body that is represented. What makes an image a self-portrait often has more to do with the reality of the person directing the representation than with that of the person being represented. Maybe, every expression of art has an unavoidable element of self-portraiture.
Article about utopia and photography.
In this article, I explore how photography allows me to understand utopia as a field of possibility and a means to pursue freedom.
Fragments
Our inner life is neither linear nor logical. It unfolds as a succession of impulses, interruptions and insistences like a composition of fragments. Unlike a coherent narrative that follows cause and effect, experience resembles a collage with scattered moments, sudden thoughts or gestures that resist order. To think in terms of “fragmentation” is to question the assumption that the past accumulates progressively in a single shot sequence. Reality is constructed in real time, moment by moment. Even the stigmas and classifications we endure are not inherited inevitabilities but living tensions produced in the present.
Interview Metal Magazine
Focusing on the idea of movement rather than movement itself – “often, the dancers are not moving when I photograph them”–, I also explore themes like youth, desire, hesitation and the unknown through the subjects, usually transitioning from dance school to the professional world.
Back Home. Exhibition
Sometimes life is a succession of moves in which homes come and go, making one feel as it one is always coming back, without knowing if this is being at home or being back home. The places where we have lived, the people we have met and the things we have done, are part of those homes in the form of memoriesand when we return to one of them, we have the feeling of missing them at the same time that we have them with us.
Berlin. January 2023
Hidden Subject. Exhibition March 2017
This is my first solo exhibition, which presents various images of presence and absence of the subject in my work.
New York. March 2017
Redlist Magazine
REDLIST is publication I started in 2024, to show my work. Rooted in the tradition of zines and independent publishing, REDLIST is published in print with the aim to be a platform to explore artistic, political, and historical perspectives related to my work. REDLIST also includes collaborations with other artists and writers whose work critically engages with my work.
Interview Wul Magazinee
Montreal
There are moments when we inhabit a space without recognizing the possibilities of the privilege of living with curiosity, unencumbered by the weight of knowing too much. Perhaps this is something we can only see later, with the connections and tensions that were already there, after certain hopes have crystallized into memory once everything changed.
What photographs reveal about the past often matters more than what they actually show. They hold what was invisible then but is clear now, just as they preserve what was once vivid but has since vanished.
What dance can be
There is a time when the body is simply a body. It moves freely, unburdened by the expectations of how it should look, behave, or perform.
Sometimes the body has the privilege of inhabiting space without measuring itself against the gazes of others.
Inhabiting the margins, away from public scrutiny, moving free of self-conscious control and societal expectation. Movement is unfiltered, following an easy choreography, arising from the desire to act spontaneously without any pressure to conform. The moment when we grasp the intimacy of gesture and the subtle language of posture and rhythm, when the body is connected, feeling free of negotiation and, again, innocent.
18. Gayletter Magazine
This article in Gayletter was published on the ocasion of the launch a my series of photography booklets entitled “18.” with photos about the male figure. Young models (mostly dancers) are posed beautifully, arms stretched, bodies bent and twisted so muscles and bones can be seen. At 18, children become adults. This idea comes through in the photographs, “When I work with some young models, I see an idealization of the memory of my own youth, not what I was, but probably what now I’d want it were back then.”
By Michael Morris for Gayletter.