Over time, every practice develops a language of its own. What elements, questions or references do you now recognise as defining your work?
Over the years, I’ve tried to move away from what feels familiar, experimenting with editing, expressions, emotions and poses that I haven’t fully mastered yet. Photographers such as Szilveszter Makó, Hugo Comte and Rogger Cordeiro have been important references along the way, as has my constant search for ideas outside photography and across the visual arts.
PRIORITY is rooted in the need to make choices at a time when images, references and possibilities are everywhere. How do you navigate that abundance without losing your own point of view?
I see this abundance of images as a resource for research and an archive in itself. I use it to find specific references in photography, film, painting and music. To maintain my own perspective, I try to start with a clear idea of what I want to do, using all that information simply as a technical reference for the work.
Given carte blanche to photograph Lisboa Fashion Week, what interests you about working in a territory that sits outside your usual practice?
I’d like to explore poses through physical and facial expression, focusing mainly on close-ups. I’d also use flash as a secondary element, bringing more spontaneity to the images and creating a more immediate connection with the subject.
