— Do you think your architectural background translated into your photography?
— Definitely, my architectural expertise had an influence on my space-object analysis. The perception of space, perspectives and layers of it becomes a journey for me, while I create my compositions. The geometry of space plays a key role, becoming as much of a character in the visual narrative, as the models. Either an open white space can contain boundless potential for movement and forms, or an emerging internal space expands and limits the model's possibilities, directing and regulating their actions, as it helps to define their roles.
— It seems you enjoy experimenting with model's postures, light and shadows. Why did you choose those aspects as main in the composition?
— I ask myself: how can I embody my ideas, at the same time managing to draw the audience's undivided attention. I keep the natural light and the colors of the objects as they are, and I mostly play with composition and the models' posture. This leaves both little and a lot to the imagination of the viewer.
— There is a lot of geometry and symmetry in your works. Would you say it was affected by your architectural background, or were you always drawn to those concepts?
— The search for identity is the key point of the origin of my work. Usually I use two seemingly identical and inseparable persons that are almost static, like dolls, dressed and positioned in the same way. The unusual sensation of synchronized faces staring at the viewer tempts them to search for physical similarities before realizing that the two characters are not actually alike. I expose the similarities and explore the differences through the perception of symmetry.