Well, I start my day with a strong coffee, a cigarette and another strong coffee; and I end it with a glass of red wine and a cigarette.

Besides my Art History studies, I am also a trained graphic designer. When moving to Madrid, I was suffering a kind of artistic crisis because graphic design didn’t seem to be the right way to express “my art". The change actually happened during my three-year stay in Spain’s capital. In the beginning I was really happy to only assist Álvaro and to not create by myself. However, he, as well as Sergio from SerialCut, kept pushing me to make art myself. It took a while, but I finally made up my mind and started using photography to create images, which turned out to be a lucky step.

To me it is important to get a coherent result. Therefore, art directing my projects is an important part to keep my signature. It feels more complete to me and it also prevents me from getting bored.

Personally, I am very responsive to colours and textures in an image. A good image for me is the one that makes me stop for a moment and touches my senses, heart and intellect.

It would probably be a disaster. The perfect conditions for me would be limited possibilities and the need to improvise!

Actually, I am not looking for inspiration as much as I used to do. Today it’s mostly happening automatically and unconsciously. Contemporary 3D design is something that really resonates with me. In addition, I like to go to museums of all kind. Talking about influences, there are too many to mention them all, so I’ll just name a few: FACE Magazine, the entire history of art, Leigh Bowery, record covers, Álvaro Villarrubia, Irving Penn…

This is a linkAll the images of this work were initially not supposed to be in one series. It was actually a combination of different personal projects I produced throughout 2015 and, somehow, I found out that they were all connected to each other. They are all about surfaces and question authenticity. I wanted to do something very minimalistic, also in terms of storytelling. We are exposed to so many images filled with messages and stories that I was looking for imagery that didn’t tell almost anything, more like a meditation on surfaces and a certain quietness and emptiness of the bodies. It is not about the content or what is behind this surface; it just celebrates the beauty of surfaces.

The series Demiurges was developed in collaboration with Sergio del Puerto from SerialCut. We were asked by design studio Vasava to contribute with a series of anonymous characters representing the godfathers of contemporary design for the 15th anniversary book of OFFF Festival in 2015. We decided to create faceless deities with lots of draped fabrics, which is something I do every once in a while. The yellow objects were chosen randomly; we wanted to add some pop to the images to get a less serious and dark result.

The UNICEF project was an amazing job. UNICEF usually uses very authentic images. However, we wanted to create imagery that rather looked like promotion for an art exhibition and that talked about the cruelty against girls in a very poetic and stylised way. The campaign got a lot of attention and we made it to the short list at the Cannes Lions 2014 in photography and communication design, and we won the silver medal in photography at the ADC Switzerland award 2014.

To be honest, the biggest challenge is the suffering that often comes with creation. I know this sounds totally like a cliché and it’s really annoying, but it somehow seems to be important for the process.