I am fascinated by all of the people that enter into and mark my everyday life. I rely on photographic, video and sound-based installations because they allow me to grasp and to give a more defined form to the people who surround me. My process is focused on recording traces of the lives of others. I frequently use tropes from documentary photography, such as the downplaying of emotion and the frontal framing of subjects. I also publish ads in newspapers, conduct telephone surveys, and linger in public spaces with the aim of generating unexpected encounters, which I then transform into images, stories, and anecdotes—fragments and testimonies of the lives of others.
Situated halfway between ethnography, photographic reportage, and editorial portraiture, my practice often involves collecting information and statistics. The aim is always to blur the boundary between lived identity and social representation—between the individual’s singularity and the generality of others. I draw a lot of my inspiration from human interactions, and from the culture and history that support collective forms of life. I use concepts that are strongly linked to portraiture, staging them in time and space and combining them with artistic symbols like the pedestal and the frame to refer to the site of exhibition. It is thus by means of visual, aural, and aesthetic experiences that I try to establish a dialogue between practice and theory, between the individual and the group, between photography and installation, between figuration and abstraction, between the relational and the documentary, … between them and you and me, where being and art connect.