Photographer & Visual Artist · Málaga, Spain

Since 1995, I have been developing a visual research framework centred on a question that remains unresolved: how artificial environments—architecture, technology, and design—shape perception and construct contemporary identity.

This framework is called Interfascze.

It is neither a style nor an aesthetic. It is a conceptual framework that operates as a zone of contact between the world, the author, and the viewer: a space where the photographic image ceases to function as a record and becomes language, metaphor, and system.

My practice is primarily rooted in black-and-white photography and the square format, using abstraction, fragmentation, sequencing, and symbolic construction as its central operations. Colour appears only when conceptually necessary, never by default.

I was born in Argentina and trained as an Industrial Designer at the National University of Mar del Plata, where I later taught photography at the Faculty of Architecture, Urbanism and Design. This dual background—combining the systemic thinking of design with photographic practice—forms the foundation of my work.

Before Interfascze had a name, it already existed as a sketch of a practice.

In 2005, the literary magazine La Pecera, published in Mar del Plata, posed a single question: What did Pandora's Box look like? Around that question it brought together three people who had never intended to work as a team: the writer José Toño Martínez, the Argentine artist Abel Robino, then living in France, and myself, at the time an industrial designer.

The process was not collaborative in the conventional sense. Rather, it unfolded as an unspoken relay, never consciously established as a method. Martínez wrote twelve fragments inspired by the myth—about doubt, hope, and what a closed box might contain without anyone ever seeing it. Robino transformed those texts into sketches, visual notes, and paintings. Working from his drawings, I hand-engraved, lid by lid, a motif inspired by those forms until the box ceased to be an idea and became an object meant to be held.

I also designed a vase, echoing Hesiod's account of the original myth, and later produced an edition of five handcrafted boxes. Each contains a sequence of loose photographs—not my own, but documentary images exposing humanity's capacity for cruelty—and, at the end of the sequence, a mirror of the same size. It was conceived as a box not meant to be opened. Yet should someone do so, like Pandora, they would encounter first the horrors humanity is capable of producing, and then their own reflection. If hope exists, it is not inside the box. It lies in the person who looks into it afterwards.

The vase and one of the boxes were exhibited at Galerie Joëlle Possémé, 46 rue Trousseau, Paris, from 10 February to 4 April 2006. The entire process was documented in La Pecera, No. 10.

I did not think of it in these terms at the time, but today I recognise in that project the same structure that I would later call Interfascze: a body—my own, carving by hand; an artefact—the box and the vase; and a purpose that extended far beyond the object's immediate function of containing or decorating, reaching instead towards something much harder to name: doubt, memory, and the possibility of hope.

Interfascze is the name of an investigation I have sustained since 1995. It was not formulated once and for all, nor does it remain closed: like any body of theory that thinks itself through practice —in my case, mainly through photography— its definition has been refined and has shifted over the years, and continues to do so. The texts I published at different moments of this journey —from academic papers to the most recent essays— do not represent contradictory versions of one another, but successive stations of the same process of understanding. Each period of the concept responds to what photographic practice allowed me to see at that moment, and each new essay does not invalidate the previous one: it inherits it, corrects it, and moves forward from it. Today's current formulation is the one you will find developed in the site's theoretical section; earlier publications remain available as documents of that journey, not as its definitive version.

Since 2022, I have been based in Málaga, Spain, where I continue to develop Interfascze and its ongoing photographic series.

My principal body of work, Morphological Patterns—initiated in 2015, with Chapters I and II now complete and Chapter III currently in development—is a modular photographic construction based on the rotation and mirroring of image fragments to generate autonomous visual patterns. It investigates how fragments produce meaning, how repetition gives rise to structure, and how that structure simultaneously shapes both the author and the viewer.

The body of work is completed by artist publications issued under ISBN, which function not as catalogues but as independent conceptual objects: Tramas Morfológicas, Abstracciones, Un sujeto. Un nosotros, Desde la línea de calle, Sobre ajedrez (Tangram Editorial Free, 2024–2025), and the theoretical essay Interfascze (2026). Their publication dates mark the moment of material release; the texts and photographic series they gather were developed in earlier years.