Becoming a Sculpture

“I can only aim to expand my knowledge by framing my ego.”

[the PhotoPerformer 2016]

Permanent Actions – Disposable Images. Exhibition at the Museum of Queretaro (Mexico)

El PhotoPerformer, Permanent Actions – Disposable Images  marked  the first exhibition of my alter-ego and its philosophy.


All the work exhibited was produced in Mexico during the period from October 2016 till January 2017. One of the themes of El PhotoPerformer exhibition was recycling: most of the material used for the exhibition was recycled and even the images were printed of recycled laser paper. The agreement with the curator and director of the museum Gabriel Hörner García was that at the end of the exhibition all the materials would be recycled for future projects.

For this exhibition The PhotoPerformer produced PhotoTotem, large sculptural objects containing images. The photographs in the objects functioned like memories of the objects.  The PhotoTotems incorporate many actions and, as I said before, they are destined to be dismantle and recycled.

As I stated on a text displayed on the walls of the Museum of Quaretaro: It is by creating, destructing and reinventing that we can reconcile with the power of photography.

Here the Poster used to promote the El PhotoPerformer, Permanent Actions – Disposable Images Exhibition:


If you can read in Spanish language here two links to articles on the exhibition:

La performance como alter ego de la fotografía

El fotógrafo más allá de la cámara

The PhotoPerformer in Action

I consider “Becoming an image” an act of transformation.

I become something that is not myself, it is an idea of myself. I become a conceptual object.

I accompany these image with words so to narrow your reading in support of my messages.


The PhotoPerformer is an atlhete of the image


The PhotoPerformer manifests him/herself through the symbolic pose of exchange




The PhotoPerformer is an anthropologist which is documenting his/her own life as a case study for the others


The PhotoPerformer is constantly carrying out the weight of his/her responsibility to communicate with and for the others


The PhotoPerformer is caged by the limits of the photographic medium


The PhotoPerformer made of photography his/her own religion


The PhotoPerformer exists through the gaze of the others


The PhotoPerformer is transgressing photographic rules


The PhotoPerformer is a creature among creatures


The PhotoPerformer is not alone!


The PhotoPerformer is aware of his/her ability to affect social memory


The PhotoPerformer aims to create a new mythology of photography


The PhotoPerformer is trapped into the power of the medium


The PhotoPerformer believes in photography as a tool of connection and exchange


The PhotoPerformer is a hunter of future memories


The PhotoPerformer believes in photography as the art of touching


The PhotoPerformer is considering photography as a game of authority


The PhotoPerformer is preoccupied by the paralysis of life through the image


The PhotoPerformer is fighting the distance that photography is creating


The PhotoPerformer is testing his/her sexuality through the lens


The PhotoPerformer encourages poetic madness as a creative tool of expression


The PhotoPerformer lives behind a thin layer of glass



“Becoming an Image is a ‘topos’: it testifies to an age-old urge to transcend the boundaries of space and time that confine the human body.” 

(The PhotoPerformer 2016)

Becoming a Choreography

I had the privilege to collaborate with a fantastic group of dancers during my residency at LOTE# . We discussed how to translate the language of The PhotoPerformer into a Choreography.

If the PhotoPerformer becomes a kind of way of living (through the image) this project helped me to think at a way of moving (outside the image)…

Becoming a Choreography

Here some documentation of the result…

Public Interventions

The PhotoPerfromer desires the encounter with different audiences and sometimes the street ( or other public spaces) offers a better challenge for the work presented then the safe walls of the gallery…


“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 a technology of foreseeing and forgetting… a collective action which program is to impose control. I don’t have anything against giving control away but my worrying is determined by the fact this is a technologically constructed condition… we become set up to forget our creative power.

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.

The 100 poses to perform a photograph



This is a manual of illustrated instructions.

This is an archive of photographic embodiments.

This is a system of representation based on: the functional, the geometrical, the symbolic.

This is the behaviour of a child with a photo camera.

A gesture of unity against the distance created by photography

On Saturday 17th of September I participated in a collective action with a group of photographers as part of the Creature Live Art Festival . Our instruction was to walk with our cameras on hand directing toward a middle point, a point of union. We decided to plan the duration of the journey for 30 minutes but we could not check our watches. The idea was to walk as slow as possible, nearly reaching stillness (but never quite), and while concentrating on the viewfinder to record mentally any thoughts that came across our mind. At the meeting point we would sit down, discuss the experience and describe our recorded thoughts.

The place of the performance was called Union Square and it was next to the War Museum.

The 30 minutes become more then 1 hour, we all felt hypnotised, we all felt the weight of our cameras (of photography), we had a lot of time to connect with our body, we felt isolated but at the same time completely interdependent, we all felt very focused and aware of the surrounding,

I experienced a sense of not knowing or walking toward the not knowing. I though that the role of the photographer is to become an image. I felt like a point, a coordinate of time and space. I thought that it was impossible to stop thinking and in a way the image on the view finder was disturbing my memory. I felt like a tree. I felt exposed to the comments of the passersby. I was enjoying the wind as I was really hot inside.


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.


Inspired by the idea of transformation from movement into stillness I decided to Become a Drawing.

The PhotoPerformer has been posing the act of photography with the intention to provoke a transition into another medium.

The life model is the professional of the pose and life modelling is probably the oldest performance art practice…

In this experiment I have collaborated with Patricio Bosich.

The PhotoPerformer is always searching for new collaborators… if you are interested to draw The PhotoPerformer please email here

IMG_0989 IMG_3759 IMG_6310 IMG_6312 IMG_6384

Collective Photo-Actions


DIY-2014---773The point of departure of this work is the “Act of Exchange”

-Exchange between participating artists
-Exchange between the different practices, cultures, languages, ages
-Exchange between different mediums of expression
-Exchange between each artist and the locations, where the actions were taking place
-Exchange between the work produced and the viewers


The subject of investigation is the process, which is identified with the word ‘Becoming’. The artwork is process, the artwork is in constant transformation and our understanding of the artwork is in constant change. The process is the closest representation of who we are as human beings.


PhotoPerformers in Collective Action

PhotoPerformers in Collective Action

Our photographic cameras could become our worst enemy specially if we rely on them to produce our memories…