“When photographing a person, I worry about exploring the documentary side, thinking of portraiture as a faithful recording technique. On the other hand, I am fascinated by the possibility of entering a place where everything already exists, and concentrating only on isolated aspects, abstracting myself from everything around me and, wrapped in silence, imagining a single scene. That's the world of the fantastic where details are dominant, and time doesn't exist.”
When I see photographs, particularly portraits, what fascinates me most is the encounter between the portraitist and the one portrayed. I try to assess what kind of encounter it was and how it all might have happened from the beginning. The reason for the encounter is perhaps what interests me most. I think it's possible to see in the portrait all the past that preceded that moment, and that's what determines the final result. That's where the art is. The art of the encounter. The atmosphere in which the meeting is arranged will be recorded in the photograph. The authenticity of that encounter is also noticeable. Whenever someone tries to stage another kind of encounter, that staging will appear in the Portrait. It's impossible to conceal it. There are no perfect crimes, and that's just as amusing.