I'm a research artist. My passion for the history of art has caused my process to unfold through the articulation between a plastic research and a theoretical research, where the concepts and symptoms that appear in artistic production become the basis for a reflection in the scientific field. It was in this plastic / theoretical jugglery that I came across the term "displaced photography" during my master's degree in theory and art history, and this is the term that I want to divulge and defend in texts, courses and conversational wheels. This idea starts from the principle that the term "abstract photography" has a conceptual problem: by making itself through an extraction of the visible reality, any photograph, however figurative it may be, is an abstraction. This research has its bases in the ideas of the theory of the pure visuality, in the studies of the form and the contemporary developments that they proportion to try seek to understand how the photographic instrument, the camera, allows to distance the image that produces of the space of reference, of the visible reality and of the world as we perceive it. Small reflections, fragments, contrasts and details of everyday life, which usually go unnoticed to the eye, become images with complex visuals of form and color in the photographic space, breaking with the limits once imposed between the abstract and the figurative. The elements and objects that reach me are not the figures or the poetic documentation, but mainly the questions that the photographic language presents to problematize the referential space from where it extracts its image. What interests me is not the world as it is, but the deviations and displacements that it allows. The history of images is not realized in the world but in the active minds of men and in the creative way men have to face it. As a goal, I seek to continue to deepen research, professionalize myself as an artist and maintain an academic performance.

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