My photographic work is linked to my personal experience as an immigrant in Miami. Initially, I was interested in identifying and understanding the place where I had settled, in delving into its possible code. This exploration took shape in my body of work Seeking a Code, gathered in the same title exhibition I presented in 2017. Later, my search turned towards developing a project in which I could account for building relationships with and affections to this —and in this— place.

In this new work, A Place for Affections, I have included photographs of spaces, buildings, and urban details, as well as interiors and nature. The latter is so abundant in the city that it is a component that contributes to define and characterize it.

The photos that record urban elements, architectures, and small details found as I pass through the city, refer to a Miami that is common to me, the one that has become familiar to me, the one with which I fully identify because it is part of my usual routes and itineraries.

As for the interiors, I have photographed those that are most intimate and give me a sense of belonging. Because of that, most of them correspond to my home.

The nature photographs were also mostly taken in my own home's surroundings, where I can find a wide variety of plants. I like to observe and photograph the details of the vegetation. Nature has worked for me as a stimulus to identify myself with this city.

As I wanted to build the final work combining all these different experiences, it seemed to me that I should look for a model of multiple combinations of images. It was then that the diptych form, with its great combinatory potential, presented itself to me as the most adequate to organize my vision. The diptych arrangement was for me the resource to represent in their complexity my relationships with a city where I develop my affections for the places, the things, and the beings surrounding me.