This is My Party
“There is a popular notion that the photographer is by nature a voyeur, the last to be invited to the party. But I’m not crashing; this is my party. This is my family, my history.”
I love parties because they are perfect spaces to explore two concepts that fascinate me: love and youth.
I am fascinated by taking photos of strangers showing themselves vulnerable and having fun. I love that the analog medium doesn’t allow me to know how those little slices of time looked until long after the party is over.
This is my party: my art and my love.
What do you find in your photography?
A way to express myself. I find it as a way to capture all my feelings and emotions. Also, to convey in an image what I cannot say with words, and it's there where I find a way to connect with other people differently. The act of photographing, which for me is super intimate. It generates a different bond than the one that could be generated through words. It's a tool for communication and introspection. Learning to communicate a feeling through an image, I believe that I also learn to process that feeling and handle it in a way that without an artistic medium to channel it, I don't know if I could.
How do you navigate youth within your artistic vision?
I have an unhealthy obsession with parties, which I believe are like a total ode to youth, and this obsession began when I was a teenager. I feel that adolescence is like the most important time when parties happen, but I also think that afterwards there's a period—like now, I'm 21—that is like the transition between adolescence and adulthood, where you don't really know where you stand and you have nothing to do, and on top of that, the future seems super dark and distant. So all that's left is wanting to have fun through music and dance. I think the party is the perfect place to explore youth, love, and friendship, which are very important concepts. That's what I try to portray.
What does your composition transmit?
The party serves as a space for connection between people. In the prologue of The Ballad of Sexual Dependency, when Nan Goldin talks about her party, I feel she's claiming a space. In this way, I'm not intruding into a space where I don't belong, but rather, I'm constructing my own space as a person who takes photos, and that's my party.
It's a vision of a world that is very unique. What happens at a party doesn't happen anywhere else.
How do you navigate being an emerging artist in the city/country where you reside?
I navigate it with a lot of pride, honestly. But I also recognize that it's a privilege because not everyone can afford to spend on film or even have the time for it. Maybe someone can't learn to take photos because they have to work on other things, but for me, it's something very beautiful.
I feel that we live in a country that provides us with a lot of content to create and express ourselves, and I also believe that there's a community of very talented people here who are quite supportive, and beautiful things can be created from that.
Perhaps not so much now, but there are opportunities to make yourself known and to meet other people who do the same.
And that's not only for meeting people and seeing other perspectives of the world, but also because you can connect and create something together.
How would you like the public to perceive your work?
I'd like them to see it without searching too deeply. Honestly, I don't want them to try to draw very profound conclusions. I'm showing something that's important to me, and that's basically it—I don't aspire to much more.
I want them to see it and think it's fun, that they'd like me to take photos at their party.
I want them to have fun, to enjoy it, and then carry on with their lives. If they feel like asking something, they're more than welcome, but it's not necessary.
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