The Kiss

I explore photography and experimental cinema, cinema of the still image, as a place of self-exploration.

In my photographs, human passions take center stage, and atmospheres oscillate between intimacy and strangeness. I strive to create mental landscapes inscribed in the movement of bodies, plants, and even the inanimate.
I invoke the dreamlike that exposes our inner selves in the face of our questions, and in this eroding temporality I traverse wonder, pleasure, fear, loss, and the unknown.

Writing in the first person is not a form of autobiography. The intimate elements are fused into the photographic material, as points of departure for a broader reflection on what runs through me, or through society.

I make cinema out of my photographs, which have become living matter. By animating the still image, I explore another temporality, another perception. Through sound, silence, text or the rhythm of editing, the image becomes an experience. A single image can hold the screen for several minutes, as in "The Kiss". The moment becomes duration, time stretches.

This transition to cinema is not simply a change of tools. It changes the status of the image: it no longer shows, it makes. It opens up a space of perception, of expectation, of sensory vibration, as close as possible to feeling, which I can only find through this cinema of the still image.

This is certainly why I use experimental cinema to explore more intimate themes, such as the status of female pleasure, desire between women, and lesbianism as a whole, far from its hackneyed, stereotyped, stigmatized, hypersexualized, or invisibilized clichés that oscillate between repulsion and idealization. It's my way of creating political poetry.