In brief

Working with my photographs allows me to express my personal world and get in touch with the sensitivity of those who perceive this production. The topics and also the techniques I deal with are very varied. For example urban or rural landscapes, not trying to "reflect reality" but to transmit something from the sensitive level rather than the recognizable one: transparencies, lights, layers of varied texture, extreme chromatic contrasts. There are very colourful works, saturated with light, and also series in black and white. Many times in the context of minimalism or abstraction. In some series of photos human relationships appear and, above all, through metaphorical paths, the human being connected to what (inanimate or not) is strange, unknown, mysterious.
I also practice some of the photographic techniques known as "historic": cyanotype, callitype, salt paper, which thanks to the use of chemical reagents, exposure to sunlight, development, etc., arrive to another conception of the image. At the opposite end of this working dynamic there is an intense digital processing that involves many variations. Without excluding, at times, manual intervention (inking, paints, etc.) on the photographic work already printed. In addition, very often I accompany my exhibitions, live or online, with video art projections.

Early on I was strongly attracted to artistic manifestations in general, both from the point of view of those who observe and enjoy them, as well of those who produce them. This innate inclination guided me early towards drawing, painting and musical composition. Regarding the visual arts, over time I turned to photography, living it as an activity that offers very varied possibilities of expression and at the same time a very contemporary language.

I speak of "expression" meaning communicate messages that transmite or generate emotions. I think of a language that transmits something, but how to know if such someting is captured in the same way by the receiver? Anyway, I am satisfied with the idea that the image I am producing could awaken in those who perceive it some kind of more or less intense, more or less deep emotion.

Regarding the photo and the title that may accompany it, I usually want the image (both figurative and non-figurative) to speak for itself and that it could thus convey feelings, awaken emotions on a more subtle level. In my perception, the use of titles in the photographic work, with the intention of suggesting a first understanding of the image, can result in a certain label with the risk of divert the sensitive contact with the observer. In this sense, I believe that an analogy can be drawn between the photographic work conceived in this way and "pure" instrumental music, that which does not require a verbal description. A musical work can arouse deep emotions in the listener even if nothing is known about its composition. I often prefer that my photographs act in a similar way; thus, in the case of a title, its function is to provide certain additional information, such as the place where the photo was taken.

The concept of "reflect the reality" in visual arts is very controversial, and even more so when it is about transmitting something from the plane of the sensible rather than from the recognizable object. I do not intend to obtain images with that aim, but without to disdain documenting places, objects, etc., as long as they are shown with a visual aesthetic that not only brings us closer to what is documented, but also moves us and perhaps in some way makes us part of it.

The themes of my interest are very varied, as can be seen by scrolling through the pages of this site, and they range from landscapes and cityscapes to abstractions. The degree of post-processing (editing) in my photographs also varies widely, ranging from minimal and basic editing to intense layered processing, such as when two or more original shots are brought together into a single final image. This depends essentially on the image itself and what it seems to me that it can communicate. Among other modalities, and profiting my taste for chemistry, I also include old ("historical") photographic techniques, through image production processes that involve manual work with different substances on assorted qualities of paper, obtaining graphical laboratory products.

My photo shows something that I have captured in the world, out there. But first this thing in the world has captured me, it has attracted my sensitivity. Therefore, when taking the shot, I first try to empathically feel each photo and, i it is possible, calmly frame it before shooting.

Taking into account the statement, frequent among photographers, that "more important than the camera is what is behind it" (and that it is not just the eyes), and from my subjectivity, I try to achieve each image with the technical tool that the camera can offer me, of course, but also with my mind and my heart. With my personal vision, indeed...

Born in Rosario, Argentina. Currently residing in Albano Laziale, Città Metropolitana di Roma Capitale, Italy.

Training and activity in university teaching
Professor of Biological Chemistry, National University of Rosario (UNR), Argentina.
Specialization in Constructivism and Education, Latin American Faculty of Social Sciences (FLACSO).
Emeritus Professor of Biophysics and Human Biology at the National University of Rosario.

Training in fine art photography
Studies of photographic art in the "Peña Fotográfica Rosarina" (Photoclub Rosario), in the Photographic Laboratory of San Telmo (Buenos Aires) and in the laboratory "Zona Roja Fotografía" (Rosario)
- Artistic photography, basic and advanced levels.
- Photographic laboratory: B/W development and enlargement.
- Visual communication and photography.
- The photographic portrait.
- Historical photographic processes.

Advanced courses in visual aesthetics at the Universidad Nacional de las Artes (UNA) and at the Universidad del Salvador (USAL):
- Metaphysics of visual representation.
- Compositional aspects in visual languages.
- Clinic of the photographic process.
- Photography as a language.
- Photography and movement.
- Construction of the cinematographic narrative.

Activity in artistic teaching
Teacher and coordinator of art courses in Montevideo, Uruguay, and Madrid, Spain:
- The physical aspects of light in modern art.
- Composition and visual structure.
- Knowledge of optics in photography.
- Advanced photographic techniques (analog and digital).
- Classic collage and photographic collage techniques in informal art.
- Analog photography and the development of chemical processes.
- Photochemical processes in historical photographic techniques.
- Alternative photographic procedures: cyanotype (J. Herschel), salted paper (H. F. Talbot), polychrome bichromated rubber (A. Poitevin) and callitipia or Van Dyke brown (Herschel, Hunt, Nichol, Arndt and Troost).

Activity in artistic photography

Solo exhibitions in Argentina (Rosario, Buenos Aires, Mar del Plata, Córdoba, San Miguel de Tucumán, Salta, Humahuaca, El Calafate, Ushuaia), Uruguay (Montevideo, Paysandú, Punta del Este, Piriápolis), Spain (Madrid, Segovia), Romania (Alba Iulia, Petrosani).

Group exhibitions in Hungary (Budapest), Germany (Marktrodach), Romania ( Cluj-Napoca, Baia Mare), Italy (Sassari) and Greece (Neos Marmarás).

Photographic and audiovisual documentation of performances, theatrical interventions and audiovisual shows.
Illustration design for posters of experimental theater and clown plays.
Member of MoCris Arte Visual. Layout and musicalization of video-art.

Link to RAW (Rome Art Week) Community:

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These photographs are presented here for viewing purposes only. They are not royalty free images and may not be used for commercial or private use. Any such use of these images is strictly prohibited. Specifically, these images may not be copied, manipulated, be reproduced by any other means nor sold without prior written consent by me.
Please contact me to use any image. You´re welcome to buy a photo-licence.

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