My work is conceptual in nature and often explores the intersection of two powerful realities: religion—a shared belief system for some—and sexuality—a universal physical force that shapes our identity and purpose.

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My journey in photography began when I received my first camera, a Pentax K1000 35mm, at a time when I was searching for an artistic outlet. Having experimented with painting and drawing, I quickly realized I lacked the patience for those mediums. Photography, however, offered a more immediate connection—despite the delay of film development—and soon became my creative language. Nature was my first subject, as I was an avid hiker, and I developed an almost instant affinity for capturing the world through a lens.

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As my technical skills improved, I began photographing small events for pay. In 1972, a tropical storm named Agnes caused a major flood in my town. By chance, I found myself photographing the disaster for the local newspaper as a freelance photographer. This experience greatly accelerated my understanding of photography’s technical aspects, as I had to develop and print my own work. I stayed with the paper for five years and simultaneously established a commercial photography business.

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While photography became my profession, I never lost sight of my original artistic drive. Over time, I came to understand photography as fundamentally narrative—distinct from traditional arts in that it records rather than creates. Unlike painting or sculpture, where the artist physically shapes a new reality, photography relies on the camera to capture existing ones. This realization led me to see photography not merely as an extension of art but as an independent discipline capable of its own merit.

My challenge then became transforming the narrative nature of photography into something more expressive and artistic. I experimented in the darkroom, but altering the appearance of images wasn’t enough. The turning point came unexpectedly—while sitting at a red light, I noticed the elongated windows of an old warehouse. Curious, I sought out the owner, who graciously allowed me to use the space. That moment marked a new direction for me. The empty space became a stage where I could fully control the narrative.

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I upgraded from a 35mm to a Cambo Super Wide 4x5 camera and began photographing nude models, building sets, and collecting props. The large-format negatives allowed me to explore darkroom techniques like contact printing and transferring imagery between negatives using duplicating film and later X-ray film when the former became scarce.

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Around 2006, as digital photography became the industry standard, I reluctantly transitioned from film. To my surprise, I adapted quickly, discovering new creative possibilities in digital workflows. Today, I use PicMonkey and ACDSee for post-production, working primarily with JPEGs. My images are printed on heavyweight art paper using pigmented archival inks. A typical print measures 23 inches on its longest side, with a 3-inch border added for presentation.