ABOUT
I have been drawn to images for as long as I can remember. Photography began as a fascination during my school years, when I shot black-and-white film, developed negatives by hand, and spent evenings printing photographs in a small homemade darkroom. What first attracted me was not only the image itself, but the physical process behind it — the slowness, the craft, the transformation of light into something tangible.
Years later, that same fascination naturally led me to relief printmaking and linocut. In many ways, linogravure feels like a continuation of film photography: both demand patience, precision, restraint, and an ability to see the world through contrast, texture, and atmosphere rather than through pure realism.
My current work is inspired by places that leave a strong emotional imprint — the volcanic landscapes of Madeira, quiet streets of Lisbon, old cafés, gardens, ocean horizons, and fragments of architecture discovered while traveling. I am especially interested in how familiar places can be transformed into something almost cinematic through reduction and abstraction.
The visual language of my prints is built around dense black forms that act as the structural foundation of the composition, interrupted only by restrained accents of deep red. I work primarily in square formats, which I consider the most balanced and contemplative form for visual perception. The square slows the eye down and allows the viewer to enter the image without distraction.
Every print begins with observation and photography. I often walk for hours searching for a particular alignment of shadows, geometry, weather, and silence. From there, the image is reinterpreted through drawing and carving. The process itself is entirely manual: ultra-fine cuts made with Swiss Pfeil tools, often under watchmaker’s magnification, followed by hand-printing using archival oil-based inks on heavy 100% cotton paper. Some editions are printed on a roller press, while others are pulled completely by hand.
I do not see these works simply as prints or reproductions. For me, they are tactile visual objects — somewhere between photography, printmaking, architecture, and memory.