I am a Galician portrait photographer who came to photography through theatre, where I first learned to read bodies, spaces and the invisible tension between them. After studying physical theatre and working in press photography, I moved gradually from news and assignments toward long‑term portrait and documentary projects that let me observe more slowly and work with greater freedom.

Today I live and work in Galicia, after many years based between London, Paris, Barcelona and other cities, carrying the traces of those places in my way of looking. I work with a mirrorless Leica M and mostly 35 mm and 21 mm lenses, always with ambient light. My sessions are brief and concentrated: I arrive with no pre‑conception, scan the space, objects and light in a few seconds, and usually make six or seven frames in two or three minutes before letting the images rest and then editing them days later.

In portraiture I like to work close to people and in reduced spaces, allowing the Leica’s quiet presence to create intimacy; the camera is small, unobtrusive, and my subjects rarely know the exact moment I release the shutter. In documentary work I try to “melt” into the setting, using the silence of the mirrorless body to move without disturbing, anticipating actions a fraction of a second before they unfold and trusting intuition more than staging.

I am a self‑taught photographer in formal terms, but my main schools were the theatre, the press and the streets. Working for newspapers and magazines in Spain sharpened my sense of timing and economy—how to say the most with the fewest images—and my years around Jacques Lecoq’s approach to movement deepened my sensitivity to gesture, rhythm and the shared space between photographer and subject.

Alongside commissions, I develop long‑term projects that link portrait, archive and speculation. Since 1996 I have been working on From Portrait to Self‑Portrait, a growing archive where artists receive their black‑and‑white portrait and transform it into a self‑portrait, turning each diptych into a visual interview.“In Beneath the Serpent’s Spectrum I collaborate with Perplexity AI to push today’s landscapes and seascapes toward a climate‑damaged, speculative year 2222, creating images and texts that oscillate between warning and fable.. With Transforming Skies I treat the sky over places like Costa da Morte as a form of cultural and emotional heritage, using time‑based images to record how light, colour and weather write themselves into our memory of a territory.

Whether I am photographing an artist in a studio, a village in Galicia or a speculative future coastline, my work comes back to the same questions: how we see ourselves, how others see us, and how time and place quietly reshape those images.