Just as in nature, in the structure of a molecular bond between neurotransmitters and synaptic receptors, I am interested in how, in parallel, the topography of an audiovisual sequence can reach and engage the perception of those who experience it.

I understand that there is a tensegrity established among sensory dimensions. A vocabulary that, when positioned, produces impressions within the cerebral realm.

To me, emotion is not an effect added to a film. I believe that, much like the exchanges across the cell membrane and the molecular interactions between elements that find their positions and become part of a living being, emotion emerges from the viewer’s own synesthetic and cultural geometry.

The creative process is precisely about experiencing and recognizing a succession of juxtaposed suggestions, drawing upon artistic and technical tools while considering both the intentions and the concrete conditions of the project.

Within the way I understand my craft, I am deeply drawn to the idea of the filmmaker: the willingness to place my labor and my perception at the service of a living, collective organism.