During the past twenty-five years my relationship to photography has been defined by periods of fragmented discovery and re-discovery. Interrupted at times by interludes of intense personal changes in my life, the medium has served me as a tool that I have continuously employed to re-frame my connection with my country. From my early documentary work to my latest conceptual nocturnal work, I continue to re-shape and re-interpret the geographical and emotional memory of my life. As an artist, I have been strongly defined by my transient nature. Long periods of absence from the island punctuated by phases of intense creative productivity during my stays, has allowed me to construct a body of photographs that convey a deeply personal connection and perspective.
In 1996, upon one of my returns to the island after having studied abroad, I witnessed the physical and social changes of the places that defined my childhood. As an attempt to capture what was no longer there, withered by time and perception, I began to photograph the spaces that I inhabited as a child. The old house where I had lived, my grandmother and the decaying landscapes that surround it became one and the same. The result was a collection of photographs entitled ‘Tiempo Muerto’ (Dead Season). Divided in three parts, and spanning a period of 15 years, this series of photographs explored the concept of death as a metamorphic personal transcendence. In retrospect, and as it always happens when we remember the past, these visually concrete memories as pictures, are deep-seated with a nostalgic aura. This early work would later become contextually significant to my creative transition. What had started out as poetic documentation, gradually turned into a preoccupation with fictional creation. The people and places of my past yearned for an immortality that was to be metaphorically constructed, not found.
During the past few years my approach to creating pictures has shifted into a more conceptual one. Living and working permanently in Puerto Rico for the first time in a decade has confronted me with a society I no longer understand. Motivated by this sense of dislocation I have begun to explore new ways of making pictures. As a result, I am looking back at my early work as a source of inspiration and to construct narratives inspired largely by deeply personal experiences. I have also started exploring a different working methodology, one that combines film lighting, digital technology and traditional large format photography. This new body of work focuses on the relationship between people and spaces in the nocturnal world of the Caribbean. My primary aim is to build an intimate visual experience that reveals an underworld where psychology and memory coexist in one dramatic stage. It has become a process of conjuring a new personal mythological language. It is a world of a subjective revealing nature. It is also, mysterious and almost subversive in its contemplative form. Ultimately, it represents a new universe to explore and interpret, one that hopefully will have some meaning to the larger world.