My father is a furniture designer and sculptor. My grandfather was a writer. I guess my creative side stems from them. I've been always amazed by European cathedrals. All those details, styles, history… That's what initially introduced to the world of art. At school, I explored all the fields, from classic mediums like painting or sculpture to the modern ones, photography and video/cinema. When I first started in photography, I was very frustrated because I used to make so many mistakes in the color, black and white darkrooms. I was, and still am, very impatient and a perfectionist.

Certainly, there are places that inspire me more than others. All the cities mentioned above were important in both my creative and personal development. After a few years living in Barcelona, I realized that my work needed a change. I felt the necessity to break through certain walls and redefine my boundaries – long story short: I needed to grow up as an artist and human being. I then decided moved to Boston to finish my degree at Massart, and my time there was very productive; I got very into American street photography from the 50's.
Being my very first time in the US, my eyes were constantly open and I was genuinely and generally curious about everything. I was living in a predominantly black neighborhood, and as an European transplant (and mostly growing up in a white middle class environment), I didn't realize how much being the minority for the first time impacted me until one of my professors asked: "why do you think that almost all the subjects you depict in your pictures are black?” It was then that I realized the impact that culture clash had on me. And more so, how much it affected my work.

I typically have very specific ideas of how my models should look and pose in my pictures. It’s something that has many inspirations, but also very intuitive. I'm very aware of the light, composition, colors, etc. That's something that I definitely plan beforehand. But when you are on set, unexpected things happen, sometimes all at once, so you have to know how to perform when these unexpected things happen – that's when intuition plays an essential role.  And then every model has their own personality, of course. Some of them get what's on your mind instantly, for some others it's harder. I try to understand each model's personality so the final result doesn't feel forced.

Many people think that I'm super drawn to desert-like places. I can see why'd they think that, but the reality is I'm more attracted to plain backgrounds in the studio or a closed place, where you have much more control of everything than outdoors. As far as my models go, I've always been very attracted to unusual faces, specially the ones that are very different to mine. When you shoot, let's say, for a brand, you kind of have to adapt your vision to the client, but even in these cases, I always feel the necessity to depict the youth.

Not really. I love androgyny. I love tomboys and boys who look like girls with very delicate features. I direct them all the same way, I don't look at them as different genders. For me, there’s this idea and it happens works the same way for both boys and girls, I don't believe in imposed roles for men and women. And if that’s the case, why should I treat either models differently?

It's funny, 'cause I was asked this same question by a close friend the other day. I've always said that fashion has been just a tool for me to develop my creativity, like street photography was back in my days in Boston. The truth is, I used to create my own outfits and looks for my models in the studio when I was still an art student in Spain. I guess fashion has been always an interesting field for me, however, it wasn't until a few years ago when that industry really caught my attention.
I'm also extremely passionate about psychology. I'm kind of an obsessive person with my ideas. The way I reduce the anxiety and let the ideas flow is to understand why they get stuck in my head to begin with. I can only get these sort of answers from psychology. On the other hand, the world of dreams is very important to me as well. I usually remember what I dreamt the night before. Sometimes dreams are able to tell you things that you can't or don't want to see.

I've never thought about it. It's definitely the last thing I care about. However, I do have a bunch of references… A lot of things I get inspiration from. When I was a kid, I watched the Coen Brothers’ Fargo and developed the desire to come to the US. As innocent and naive as this dream sounds, I wanted to meet all those characters from the Coen movies. They were so odd to me, so different…something that I hadn't seen before, except in Lisette Model, Weegee or Diane Arbus's work. I wanted to meet them all in person.

I'm always working on projects. Although the month of March is going to be full of rad shoots with very cool brands that I really love. I'm stoked!