Passion in Red explores the intimate dialogue between human emotion and the intensity of digital manipulation, symbolized through the omnipresent hue of red—both violent and tender, aggressive and comforting. It uses digitally intervened photography as its medium to transcend the boundaries of physical reality, blurring the lines between what is real and what is perceived.

"True Fictions" is a digital stage photography serie exploring the blurred boundary between reality and constructed narratives within modern urban spaces. The images question our perception, inviting us to reflect on what is "real" versus "staged" in contemporary city life.

Before the Words exacerbates the tension between visual cues and narrative imagination, The series penetrates the space where language has not yet invaded, where images resonate as open symbols, without restrictions of interpretation.

This series shows the modern city as both a product and a reflection of human cognition. The photographs reveal the paradox of urban life: cities are built to serve human needs, yet often overshadow and alienate their inhabitants. By juxtaposing small human figures against imposing architectural forms, the series highlights the tension between intimacy and isolation, individuality and uniformity.

This series of diptychs is a visual and conceptual journey into the subconscious of film writing—a medium that traditionally begins with words but here begins with images. Each diptych is a storyboard for a story not yet told, a frozen frame of a film that exists only in the realm of potential.

This series explores the intersection between artifice and identity, building a visual narrative that fuses the aesthetic codes of cinema, fashion and street photography.

Ordinary Things, presents a striking examination of the mundane. Drawing on principles of contemporary art, particularly those of conceptual and surrealist photography, that define much of today’s photographic discourse, where the boundary between documentation and interpretation blurs. By selecting familiar, everyday objects, Ordinary Things reframes these items as artifacts of modern life, charged with unexpected meaning.

In this series, the artist uses photography not merely as a tool for capturing likeness but as a medium for exploring the fluidity and multiplicity of identity in contemporary life. These portraits subvert traditional expectations of photographic realism, merging techniques of blurring, layering, and juxtaposing textures to evoke a sense of psychological and emotional depth.

These are storyboards made with images. There is no text written nor a preview idea. The series unfolds as a collection of visual narratives that bridge the worlds of cinema and photography, forming a silent symphony of potential stories and hidden emotions. Stripped of written exposition, these sequences rely solely on the interplay of images to conjure an atmosphere of mystery, tension, and reverie, inviting viewers to become active participants in the storytelling process.

Admit One delves into the tension between access and exclusivity in contemporary visual culture. By presenting "Admit One" tickets within various contexts—over magazine covers, in domestic and intimate settings, and within hands poised for display—the series invites a dialogue about permission, participation, and the commodification of experiences. Each image deconstructs symbols of power, luxury, and mass culture, inserting the viewer into scenarios of both invitation and restriction.