As an architect and self-taught photographer, my architectural background has shaped my artistic vision and carved my photographic identity.

I believe that architecture and photography are similar and complementary worlds; they both follow rules of composition, emphasize negative spaces, have an urge to frame spaces and lead the viewer, and communicate a visual language. Additionally, both fields depend on one another. An architectural edifice or structure which is fixed in space can be viewed across the world through photography, which also gives it an added value: in fact, a photograph can emphasize certain parts of a building, isolate others, exaggerate features, translate a dramatic feel and so on, in order to translate the essence of this architecture. Whereas architecture is fixed in space, a photograph also fixes it in time. Moreover, architecture as a photographic subject offers interesting means of interpretation and usually allows graphic results by translating a three dimensional space on a two dimensional surface.

Photography is to me a natural extension of my architectural background. It is a means of artistic expression which allows me to take a step back from reality as is and re-formulate it through my lens, using this reality to create an abstraction, to reinterpret it with a personal input. What I aim to create is a visual language made of lines, geometric shapes, shadows, patterns, all which engage the viewer and translate a certain sense of space and scale as architecture does, even when the subject totally differs from pure architecture. I tend to look for a visual statement in my work rather than a specific narrative.

Whatever my subject is, I normally experiment with framing and/or with exposure in order to get a result based on that subject, yet with a certain distance from it that translates my personal vision. Following that mental and creative process can lead to very different results, depending on the subject and on the chosen photography technique. The predominant language in my body of work is the omnipresence of lines, be it leading lines or lines overlapping, which always refers back to the architectural source of my approach.