In Engravings of Light, I explore photography as a surface for engraving, a place where light, body, and matter meet to leave traces. I don't seek absolute clarity in the image: my gaze turns instead to the marks, glazes, and textures that permeate the photograph, transforming it into a space where time settles rather than passes.
This series stems from research into the image as a surface for sedimentation. The worn surfaces, material interferences, and visual fractures suggest a world where memory slowly accumulates, like a residue.
In this context, light takes on a structural role. It is never neutral: it cuts through space, passes through bodies, and generates unexpected geometries. More than illuminating, it interrupts, introducing a constant tension between revelation and concealment.
Through these luminous fractures, the image opens up to an almost metaphysical dimension, where reality appears unstable, suspended between presence and disappearance.