Becoming an Action

It is only by inventing new forms of behaviour that we can escape being predicted, controlled and manipulated.

[the  PhotoPerformer 2016]

Inspiration – Live Performance @ ArtSpaceMexico Gallery


Exercise for vital photography.

“In a world covered by images, I breathe photographs.

In a world of buy and selling I breathe photographs.

In a world of unregulated competition, I breathe photographs.

In a world of excessive production, I consume myself.

In a world without solutions I dialogue with my breathing in search of my imagination.”

Photo-breathing is an exercise of connection between my most functional action (breathing) and my most dysfunctional addiction (photographing).

Respiration can be the deepest photograph of my emotions.

While I’m photographing my breathing, I invoke the images woven around the inner wall of my body.

While I’m photographing my breathing, I’m syncing my internal with my external image.

While I’m photographing my breathing, I’m closing my eyes and picturing behind the surface.

While I’m photographing my breathing, I’m tensing my body and releasing my vision.

While I’m photographing my breathing, I’m giving light to the darker side of my memory.

While I’m photographing my breathing, we can all listen to the voices of all the images stored inside my cavities.

While I’m photographing my breathing, I have the tendency to become mechanical but the creative impulse will help me to break the program.

While I’m photographing my breathing, my mind becomes a bit dizzy and the focus becomes my pure uncertainty.

While I’m photographing my breathing, I stop anticipating my stimulus and the entire activity become more unpredictable.

 My photographic capacity is built-in to the anatomy of my body.


Within the gallery I constructed a pulmonary space in which I was heavily breathing and picturing my over-oxygenation. The audience could see me through my photographs.

The Rhythm, tension and sound of my breathing are like words photographed to be interpreted.

I photograph my rib cage in full expansion and I picture a camera obscura ready to give birth to a new visualization.

Every photograph is an encouragement for another breath.

When my photographing is guided by my breathing it loose it rationality and become an involuntary impulse.

Photo-Breathing allows me to photograph my body with an empty mind.



“The life that you live in order to photograph it is already, at the outset, a commemoration of itself,” Italo Calvino


More and more we are relying on photographs to track our memories…

We are giving away our capacity to embody experiences and turn them into memories.

I see photography as the art of forgetting… a collective action that is driving us toward a chaos. I don’t have anything against chaos but my worrying is determined by the fact this is a technologically constructed confusion… a chaos set up so to control and manipulate…

Oblivium was performed in Sao Paulo as part of La Platformance Festival in April 2016.

The action was performed in collaboration with Marcio Vasconcelos and Gabriel Arroyo Gallardo.

The photo documentation was created by Rodrigo Munhoz, Camilla Loreta, Pedro Galiza and Cristiana Nogueira.


“Perhaps all anxiety might derive from a fixation on moments — an inability to accept life as ongoing.” Sarah Manguso

Video documentation by Camilla Loreta.





In July 2014 I performed ‘Metaphor’ a durational performance during the 9th edition of Verbo, an international Festival of Performance Art in Sao Paulo (Brazil). With a photographic camera taped on my face I performed a deep breathing exercise until reaching complete exhaustion. While I was breathing the members of the audience were triggering (through a remote control) the camera on my face and witnessing the photo created projected onto a large wall behind me. My vision was blocked by the camera and I could only imagined the images I was producing. During the performance, my task was to heat the temperature body through the deep breathing so to produce a large amount of sweat. The drops of sweat would then melt an image (of myself with the camera) printed on soluble paper placed on a small platform where I was standing.


Out of my control, the action of breathing and the action of photographing ended up synchronizing. For the entire forty-five minutes focus and repetition become my mantra. For forty-five minutes the audience was exposed to a process of destruction: each new image projected was deleting the former, the image under my feet was melting and my body was showing exhaustion.

During the Performance, the act of photography transformed my body into an automated object, a breathing object possessed by the program of the apparatus.