A photographic journey that explores those empty urban spaces as cut movie scenes. Scenes not worthy of being “shared”. A collection of discarded pieces of a catchy movie made to be popular but resulting in a surrogate for our need of ‘being liked’.

The 'City of Ashes' goes beyond the concept of place. It stands before you without following the criteria of linear perspective. It grows on the earth's crust and extends beyond the horizon.

How terrifying can the absence of a vanishing point where one would expect to find it be?

Tourism and photography in Venice. Standing face to face with one of the great wonders of the world, the overwhelming majority of people have no wish to experience it, preferring instead that the camera should. 

The names we give to things shape the world. Defining and labelling establishes the background in which we act but also outlines ourselves. Today, however, it is price tags more than anything else that define the relationships between us and space, between us and others.

Multitudes of new buildings are already doomed to the oblivion of the ‘non-story’. Concrete laid on a base of speculation and chaotic din. The speculation has replaced the foundation, the sense has been sacrificed on the altar of utility. These soulless structures appear to my eyes like nothing more than things whose only purpose is in their function (actual or potential).

To make sacred is to protect a separation, the separation of which the Island is the paradigm. The research behind these images deepens the division between time and space, between the act of seeing and the act of looking. I consider looking as a place of details and deep breaths, in contrast to the surface act of seeing; 'to look' creates the memories that 'to see' leaves out.

Everyone in Paposo knows the story of the Russian prince. What remains of his 'castle' is a dilapidated shack in front of the village quay, now used as a dormitory by some fishermen who come seasonally to fish for 'Congrio'...

The smell of the ocean, and the few artificial lights will go out after midnight. I believe that thanks to food poisoning, I heard the 'llorona' cry in the dark, so the legend of the Russian prince took shape.

Portraits nestled in breath practice. The subjects breathe with their eyes closed, and the movement of the lungs is slow, filling and emptying. I asked them to open their eyes again and look into the camera at the moment of the transition from 'breathing out' to 'breathing in' with empty lungs.

I collaborated for three years with the iNostalgia publishing house in Manchester. I was responsible for the Sunday column 'Then & Now' for the daily newspapers MEN (Manchester Evening News) and ECHO (Liverpool). I did archive research to find stories and photographs from the 1910s to 1990 (circa) re-photographing the same places as they are now, from the same point and perspective as then.

Photo session for an emerging rock band from Leeds/Manchester:  The Common View

I started my career as a photographer in Venice, helping some of the city's most famous antique dealers to update and bring their catalogues up to date. I made sharp images even of objects that are notoriously difficult to photograph, such as Murano glass.

Theatre was one of my first passions. But as I have never liked to be in the spotlight, I use my photographic skills to find my space behind the scenes.

An independent, self-funded photography centre delivering dark room and photographic workshops for young people. As part of this, ISOLAB promoted independent underground photographers alongside the Biennale’s artistic programme.