Photography and conceptual art form a complex pair. If some photographers claim that photography played a mere documentary role, others, on the contrary, point to the use of specific resources, by some artists, which allow the technical image, its visual possibilities and its social meanings to be problematized.

I believe that the characterization of photography used by us conceptual artists is, however, accompanied by other considerations that allow us to problematize a relationship that is apparently easy to determine.

Thanks to a set of factors, including lightness and

fragile material consistency, the decline of the object in favor of attitudes and processes. Faced with the challenge of using matter “in a paradoxical way”, of inventing an art based on the greatest possible economy of means, the conceptual artist uses technical image in accordance with Sol LeWitt's proposition that it is possible to present ideas “through of numbers, photographs or words, or any way the artist chooses, since the form is not important.

For me, a photograph needs to have a soul, a voice and overflow with feeling. This is the basis of my photography.