La Vida (Life)

These mesmerising, kaleidoscopic images of the corrida (bullfighting) appear deceptively beautiful—look again. In this series, I use the seductive aesthetics of the arena to draw the viewer in, only to confront the anachronistic cruelty and barbarism beneath. Functioning as a labyrinth, the photographs juxtapose hypnotic, mandala-like patterns with the gruesome reality of blood and death. As they gradually unravel, they reveal the disturbing coalescence of beauty and violence that defines the ritual.

Each photograph’s title draws directly from the traditional Spanish vocabulary and sequence of the corrida—from the paseo de cuadrillas (grand entrance) to the tercio de varas (lancing), tercio de banderillas (flag placement), and tercio de muerte (final kill)—documenting the entire archaic event from start to finish. By photographing matadors confronting bulls in an ancient Roman arena, I question the enduring place of sacrifice in modern society: Should such long-lived, violent traditions remain part of our cultural heritage? What primordial, timeless aspect of ourselves remains so fascinated by the spectacle of blood and the death of the Minotaur?

Smile When it Hurts Most

This series captures raw, ringside moments from local boxing matches—intimate portraits of professional fighters taken close to the ropes, between the blows, where the real story unfolds. Each title draws from a boxer’s tattoo or name, revealing layers of identity, resilience, and vulnerability.

In the solitude of the ring, the boxer stands alone against a metaphorical opponent: fear, pain, and surges of exhilaration. One punch can change everything—much like the American Dream—turning life into fortune, fame, or ruin in an instant. Until then: smile. Smile when it hurts most.