— 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.

— In your photography you use a very pronounced style of clothing for the models. Is that something that also translates into your life?

— I'm happy and thankful for this question. I like pure and natural styling both in my work and life.

— What would you say is the most important thing in one's style of photography?

— I have no idea about the other photographers. Nothing I do has a purpose. I try to tell the truth about the human attitude, as I see it through my camera. The search for identity is the point of my work.

— What makes a photographer an artist?

— "Photographer" or "artist" are labels or tags. What we create is more important. I try to be truthful with what I show in my photography. The idea of diving deeper into the secrets of human environment captures my interest.

— Photography captures many aspects of human life. What would you say are the main things you are trying to show in your works?

— Human relations, the fragility of our social boundaries, love, identities are some of my preferable topics that blend in a vortex of what can easily be described as the "new normal". And perhaps, that's my biggest asset – documenting and exposing the limits of our generation's "new normal" with everything that makes a precious, deep and intimate abnormality.

— Are there any photographers, artists or architects that have affected your works?

— I am very fond of Jean-Luc Godard, despite him being not a photographer. The New Wave rejected the idea of a traditional story. There was a feeling that his storytelling interfered with the viewer's ability to perceive and react to film, forcing them to perceive and react to it as they would in real life. The objective was not simply to entertain, but to sincerely communicate. I can't say that there´s something in my style that directly reflects the characteristics of that French movement, but I'm influenced by the state of its normlessness.

Interview: Étage Magazine
Date: April, 2016