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Homens de Sal, 2011- 2015.

This is a fiction work. A representation of a possible real, mediated by the apparatus, for editing, with emotion and imagination. The motto is salt, substance making significant part of the history of man. Symbolic character, in different cultures appears in the protection and purification rituals; in others it is the immortality or even bitterness. Great value when rare has been currency trading and salary of soldiers. His ability to preserve food is the same as that corrodes the iron and dries the skin of the salt, marked by the sun, the wind at the time. Character of a craft that has been unchanged since the nineteenth century and that tends to disappear slowly and quietly, shutting the metal drag of the blades, the groaning of the wheelbarrows, pull the squeegee, the strut of windmills.

A place where passion and disenchantment are mixed, resulting in shiny crystals in salt water.


The support elected, composed of watercolor paper, salt and silver, carries on the surface images of a world apart. The manual application of sensitizing brush, He added the gesture, increasing the chance of the presence of the salt paper process, the technique, photography forerunner, organically incorporates the image of the extracted crude salt.

Essay made at salt fields of Paraia Seca, Monte Alto e Figueira - Lagoa de Araruama, Rio de Janeiro.

Cidade Múltipla, 2000-2010


I began to photograph the city with handmade cameras (pinhole) at the end of the decade of 90. The simplicity of the process immediately fascinated me and I started researching the possibilities of apparatus, both in the technical sense as aesthetic. The hole done with needle sets a fixed and very small aperture, associated with the use of photo paper as material (little) sensitive, limits the records to situations of natural light and long exposure times. The 5 artisian pinhole cameras used in this assay have from 1 to 5 needle holes opening to the unexpected, with images being formed in slow and time overlapping deposits on sensitized silver. This test builds a São Paulo strange and familiar at the same time, revisiting some of its architectural icons with a multiform look.

Vestígios do Carandiru, 2002-2004


Months before the implosion of the "Casa de Detenção de São Paulo", I was invited to record the last football game of the incarceration. Attracted to the interior of the "casarão", I was involved in hundreds of checks of Pavilion 8, which was vacated. Although empty, the cells still bore traces of its inhabitants in cuts peeled, intimate objects, letters, car pictures, landscapes and saints. The fascinating omnipresence of female icons, erotic possibly pornographic, seemed to contribute to ease the crowded solitude: the image of women as escape and transcendence cloister. I registered the unoccupied spaces. I collected the objects whose materiality judged indispensable to symbolize the complexity the prison experience. Combined, the photographs and the remains of things form the "Vestígios" series: boxes that hold survival strategies of saved lives.

Haveneros, 2001


This photo essay is the result of an immersion short but intense day-to-day Havana. They are instantaneous, a country of records live an everyday opinions and feelings contradictory, that mix the economic difficulties, social virtues and dreams destroyed Cuba I saw.

Sombra do Porto, 1996-1999


This essay brings together two of my fascinations : the sea and the boats. At the time the Port of Santos was being privatized and cargo handling practices were about to switch to automated systems. My records capture the legwork of dockworkers as it was already done in the late 1990s .

Amanda, 1993


Amanda is a teenage girl who turned into theme of my essay during workshop with photographer Mary Ellen Mark, at Maine, USA. I accompanied her daily life for four days after asking permission from their parents. At first I loved the idea, but after work was pretty tired of my camera.

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