I work in black and white photography at the frontier where fine art photography brushes against painting.

My tools are time and restraint: long exposure, controlled movement, and the focus is the flat field—the bidimensional plane: height and width, no more.

I avoid perspective to set a graphic challenge the eye resolves through slow looking. Inside my DarkStudio, the light is staged, measured, and allowed to breathe—abstract photography built for attention and silence.

How I work fine art photography

I build minimal setups—planes, edges, cylinders—and draw with time. Exposures are measured rather than theatrical; the print must breathe, not perform. I edit until only what carries tension remains: tone, weight, interval, edge. If the image doesn’t change your breath, I keep working. This is fine art photography shaped by reduction and precise craft.

Method abstract photography

I make sketches to establish compositional intent.
In the DarkStudio—the set becomes a stage where light sources, LEDs, mirrors, and objects orchestrate long-exposure gestures.

The darkroom completes the transformation—water, chemistry, time—until the image surfaces.

The result is abstract photography with analog depth folded into a contemporary sensibility.

Origins & context

I was born in Caracas (1972) and trained in graphic design, film production, and advertising. For years I worked across commercial photography and moving-image production; in 2012 I committed fully to fine art photography.

Since 2018 I’ve been based in the Netherlands, developing a body of work in Eindhoven that merges European minimalism with Latin American intensity—economy of means, concentrated energy.

Influences under my proposal

I think my work grows from the study of artists who stretched the medium—Man Ray, Edward Steichen—and, from painting, Kandinsky and Picasso, whose thinking on line and the deconceptualization of form stays close to my process: how to keep energy alive on a flat surface; how to turn time into a mark.

And my father, a devoted photographer and darkroom worker—whose patience with light and chemistry shaped my hands before any theory did.

Materials & editions

I usually shoot and print using cameras and an analog process, printing on Ilford papers whose chemistry and permanence I trust—choices that protect the tonal range crucial to black and white photography.

Sometimes a work asks for a digital output; in those cases I use archival cotton rag. Most works are unique (1/1) and ship with a signed, numbered Certificate of Authenticity and provenance notes.

2026 — Honing the Line (current project & collection)

This collection returns to the Eindhoven grammar with greater concentration: denser negatives, reduced vocabulary, more air around the blow. I want each print to meet the viewer at the sternum and steady the breath.

Honing the Line extends a single premise—light as living matter—into prints whose tactile presence invites contemplation rather than explanation within the language of fine art photography.

CV highlights

• 2014 — Internos, Sala Mendoza (Caracas)

• 2018 — Photo-Fundamental Plane (Caracas)

• 2019 — Collective show, Kunsthuys (Best, NL)

• 2022 — LensCulture Critics’ Choice 2022

• 2022 — Prix de la Photographie Paris (PX3)

• 2025 → 2026 — Honing the Line (current project & collection).