have recently begun to do photography. I admire the work of Edward Weston,
Diane Arbus, Nan Goldin, Walker Evans, Bruce Davidson and Sally Mann. I want to
capture moments that reflect beauty through texture, color and emotion. My
subjects are people, artifacts, rundown buildings, buildings and houses in different
cities, such as Providence, RI; Boston, MA;
NYC and New England rural areas. I post process my images with Photoshop. I do
not use any filters on my DSLR photographs and I follow a realistic approach to
photography in the images post processing.
I also take some
pictures with the Hipstamatic application. I would say the Hipstamatic
photographs are an example of snapshot art.
With this snapshot approach, I just follow my feelings and apply the
filters from the app. I enjoy both approaches to digital photography and I
don’t think I could only use one. You can find examples of both types of images
in this website. For the DSLR photographs, see the Photography section and for
the Hipstamatic photographs, see the Hipstamatic section.
I have always had a
keen interest in experimental documentaries and in abstract video. I am interested
in two aspects of video: one is to use software as a painter uses different
brushes, and the other one is the City Symphony genre.
I use software as a
painter uses different brushes. In my work I use Final Cut, Premiere, Avid,
After Effects, Autodesk 3ds Max and Photoshop. The objective in my videos is to
create my own structure in the sea of abstraction. In order to create this
structure I use rhythms which apply painting principles such as composition,
contrast, color, and texture. My work is influenced by great artists such as Brakhage,
Harry Smith, Oskar Fischinger, Yves Klein, Joan Mitchell, Miro and Motherwell.
I am convinced that the moving image has a lot of
potential for art creation and that it can be used without linear narrative.
aspect of video, I am interested in, is the City Symphony genre. I aim at
finding beauty in environments created by humans, the beauty city dwellers
overlook in their everyday life. I find unique locations that show the city by
reflecting the city itself on its surfaces. These surfaces are never stable,
they change continuously. The shots vary depending on the amount of light they
receive and on the place where the ephemeral observer is located. In this work
I also emphasize principles such as composition, contrast, color and texture as
in the work mentioned above, with the difference that in this work I avoid
using post processing effects in the footage I shoot and use. Lately I have
been trying to make a video symphony of places in the countryside; as in my city
symphonies I emphasize principles as composition, contrast, color, texture and
light over storytelling.
kind of work is deeply influenced by the work of artists I admire, such as
Dziga Vertov, Agnès Varda, Bill
Viola, Walter Ruttmann, Joris Ivens and early American works like the ones
found in the Unseen Cinema: Picturing a Metropolis - NYC Unveiled, Manhatta (1921)
by Charles Sheeler and Paul Strand, Twenty-four-Dollar Island (1927) by Robert
Flaherty, A Bronx Morning (1931) by Jay Leyda, Footnote to Fact (1933) by Lewis
Jacobs, The Pursuit of Happiness (1940) by Rudy Burckhardt and Skyscraper
Symphony (1929) by Robert Florey. In these films the camera work is different
from the camera work in narrative cinema since the director has broader options
that expand his or her possibilities. Video and educational
resources such as UbuWeb, the Internet Archive and YouTube have also
served as a source of information and inspiration for my work.
I believe that there
is more than form in my videos, for instance, the philosophical concepts of
mortality and impermanence are present in Ephemerals.
My goal in Ephemerals was to show the city through the eyes of the ephemeral
subject, a character that disappears second by second, through movement or
through changes in light. His or her life span is fragile and he or she can die
and be reborn by simple things such as a cloud covering the sun or someone
turning off a light. In
other works, such as Lima didn’t knowI and Peru didn’t know I, I tried to portray the complex relationship
between Peru’s Western Catholic Culture and Peru’s originally Andean indigenous