Saturday, 14 January 2012


I started taking pictures of London's skylines by sheer accident, and by sheer accident I tried the sandwich technique on them. A colour print was re-photographed on black and white film, and a new hand print made from two negatives placed one on top of the other. I wanted it be yellow - or golden, depending on how one perceives it.

And so I found myself entirely possessed by shades of yellow, be that illness, rotting paper or golden skin that smells of honey and can only belong to beautiful next-to-heavenly creatures.

After I made around 5 prints, I somehow abandoned them, discarding as unconceptual and going nowhere until one day the sky was low and milky white again, and there I was on Jubilee bridge, kneeling to get the angle right, waiting for Waterloo bridge to be empty of passing vehicles and shaking because it was insanely cold and I had left my gloves behind again.

This ongoing series is essentially about organic sensations opening onto transcendental experiences and the "desire for someone's presence" (c)

We live for the sake
of moments of enlightenment
And so I was walking
infinitely towards you
To contemplate all the eidola
By your side

Sunday, 19 June 2011

I'll Be Your New York published

Delightfully enough, I'll be your New York has been published by Atem Books

Tuesday, 22 February 2011

jack and jill drafts

god's glue/a jack and jill story is an ongoing body of work visually informed by surrealism and the so-called Boston school of photography. god's glue will draw on all sorts of cultural references, from Shakespeare to Franz Kafka's "Letters to Milena".

Jack and Jill, apart from the well-known children's verse, can also refer to informal dancing contests in which the best guy and the best girl are chosen based on who's the most pleasant to dance with. Being Jack and Jill as lovers is being in a state of chosenness and consubstantiality (through the phonetic resemblance of names, at the very least).

The project will bring together several visual strategies, combining still life, tableau, urbanscape and portraiture (self-portraiture included). Multiple models would be used to impersonate Jack and Jill, modern self-subverting lovers that somehow ended up stuck together with god's glue, there being no other way of explaining their mutual dependency.

Love would be treated as a transfiguring trouvaille, something permanently and irrationally present like Man Ray's Starfish and, of course, superior to everyday ordinary love. The image would function as a way of recording the automatique and a way of creating visceral surfaces that surpass representation.

Tuesday, 14 September 2010

Complete 'Twenty Days of Being Silent'

'Twenty Days of Being Silent' is an essentially unautobiographic series of self-portraits, shot in the course of 20 days during which I abstained from speaking. Originally conceived as a somewhat formal exercise in style, the images ended up recording a self-subversive experiment with a lost sense of identity. The body, deprived of other ways of communication than making itself visible, over-reliant on gesture and expression and permanently aware of its forced muteness, becomes the scene for an experience that is at the same time mental and organic. The staged, thoroughly constructed look of the final photographs becomes an anti-statement, in a rather Brechtian "here-I-stand-no-implications-made" manner.

Monday, 13 September 2010

screw you i don't love you i love you screw me

fond memories i'll have of the days when i was a nobody

Sunday, 11 July 2010

a girl's take on l'amour fou


In your checkered shirt with your long black
hair you looked just like Jean-Pierre Leaud
with Paul Newman's eyes I could have met
in East London

The only thing I've ever really desired is to
be permanently fascinated

I don't own myself anymore

You grow like algae in my
blood, I smell like algae

I can't go to bed with anyone else

memories of traces of saliva

People like you and me end up the same
height when they make love

soft and white like a girl

I don't care about film festivals

When you're stroked, you just stroke back, it's normal