Photography is no longer an innocent way of capturing our visual world.

It ceased to be innocent as it is framed by methods of representation that are – involuntarily or voluntarily on the part of the artist – ideologically charged. The focus is now on the social role of the work, its philosophical dimension and its impact on the public. The conceptual portrait is ourselves, either as image creators or as recipients of it. They are our feelings, our references, our perceptions, our values ​​and our demands. It is our need for a world where empathy and logic will leave their mark around us equally.

Photography runs through its own language!

Whether it is accompanied by a text or not, the viewer is “doomed” to seek a specific meaning that, of course, is non-existent. Analyzing any photograph, it is like any image in general: it can only be subjective as it is determined by social behaviors of both sides (creator-viewer). Conjunctures, space-time are an endless labyrinth in human perception. Each photograph is in itself a text, a word, thousand of words… a scream!

What differentiates, however, the conceptual portrait of the exposure of emotions we present to you, from the common images of our visual perception, are provocative, multifaceted, and unpredictable photographs offered especially in this period of apparent stagnation.

The questions, the feelings and the looks that move constantly on the altar of destruction and that bittersweet feeling of “screaming”…

And now what;