di|stru|zió|ne

My art relies on 'controlled destruction'. Defects become the expressive center, countering digital perfection. Faded film, exposure errors, and wrinkles are living proof of a biological, unpredictable metamorphosis of photographic matter.

The absolute core of my artistic practice lies in a deliberate, 'controlled destruction' of photography—a philosophical process where the technical defect ceases to be viewed as a mistake and is instead elevated to the very expressive center of the image. In a contemporary era entirely dominated by the sterile, mathematical perfection of digital algorithms, I find a profound, undeniable truth in faded images, unpredictable exposure errors, and the deep physical wrinkles that permanently scar the film emulsion.

Far from being mere accidents or failures of technique, these elements serve as tangible, irreplaceable proof of the deeply organic and material nature of the analog medium. To me, film is not a passive tool but a living, breathing body that actively reacts to the external world: it changes over time, undergoes its own unique form of chemical fermentation, and dynamically regenerates itself—almost as if the chemistry within the emulsion were cultivating a creative, vital mold of its own design.

Ultimately, photography is not about capturing a static, frozen moment in time, but about fully embracing the unpredictable, biological metamorphosis of the photographic matter itself.