I am not a photojournalist, what I do are constant and almost feverish acts of appropriation with reality, tours and immersions in asphalt universes, in symbolic universes, in human universes. In general, Bogotá has been the focus of my interest, a city of meetings and disagreements that "survives" a kind of continuous evanescence. Harassed by the overwhelming vertigo of forgetfulness and the frenzy with which the architectural and social past is destroyed to make room for an alleged "future".

  I like to take the city as a stage, -in fact most of my frames are very scenographic- and the presence of the human in them almost always appears as a solo element, minimized in that great show that is the city, lost in the immensity of that solitude, in the paradox of its loss. However, sometimes that look does not exclude my interest in other aspects of everyday life that do not escape humor or purely formal aspects that architecture or the urban infrastructure itself offers.

​

This city has many faces, which I have approached in very different ways, both in capturing and thematic interest and in the way of "processing" them. Some of my photographs are notoriously intervened, helped by what we now call the digital laboratory; I play with the spotlights, I mix analogous textures that I get from my old paintings, scratched or corroded surfaces. I feel more attracted by the spirit of cinema, theater, painting, design or poetry, than mere reporting or documentary recording. I use the tools in a "rudimentary" way, that is, without sticking to the default filters, I try to customize these paths. I particularly like to do it in black and white. Although I have a lot of color material, -chromatic choice that depends a lot on light and other factors, both emotional and conceptual-, most of these color photos have minimal or no editing manipulation.

​

Perhaps most of my photos appear to be the product of "lucky chance", but there is a lot of rigor and discipline in my processes. And although there are -as I already said- thematic variations, aesthetic results, constructed series and sub-series, I assume my work as something successive; as a single long-winded work.

​

I like to share my photographs, I don't save anything for ever; what I have exposed in real spaces. What is already printed was first in my spaces on social networks. I post almost daily what I just captured. I accompany my photos with titles or headers, and even knowing that this conditions what is shown as an image, I like to generate certain narratives, which are sometimes spaces for reflection, provided with a certain amount of humor or sarcasm.

I consider that networks are a support in themselves, just like the walls of a gallery or museum, but with a superlative power of projection and communication. And it is that thanks to those self-managed communication tools I have achieved almost all my "moments" or visibility spaces also outside the networks.  I have had spaces in certain institutional, academic, and even commercial "tents". The interaction in the networks has brought me the benefit of a certain independence by not being completely subject to the "establishment" of art and its curatorial and academic dynamics, I feel far from the discursive obligation in art, my projects have more than searches and unknowns, than long resolved academic definitions.