I was working on another project in New York City — "Motion City" - in which I was trying to capture the movement and the energy of the city through the windows of public buses. One day, I got off the bus while it was snowing and decided to wait under a scaffold until it passed… As I stood there, I noticed so much life happening in front of me that I decided to capture it, and then, when I got home and downloaded the photos onto my computer, I saw them side by side and realized I could create a sense of movement, almost like a visual score of what had happened before me. I saw the possibility of capturing a lapse of time…

I remember watching the documentary "In No Great Hurry: 13 Lessons in Life with Saul Leiter" and hearing him say, "I believe there’s such a thing as a search for beauty, a delight in the nice things in the world, and I don’t think one should have to apologize for it." As a street photographer myself, I found that incredibly inspiring—especially when we think of beauty in a profound, philosophical way.

Observation of urban life is probably a key element of street photography, but for me, it’s also about finding beauty in the ordinary, in the simple things around us. I love wandering through the cities I inhabit or visit, capturing moments as they unfold. But for this particular project, once I find a wall that speaks to me, I stop. Instead of walking, I pause. And in that pause, I experience a different kind of observation—one where the world keeps moving, but I don’t. And there is so much beauty in that space between movement and stillness!

 The first thing I do upon arriving in a new city is search for a background that resonates with me. I wander the streets for hours, absorbing the atmosphere and noting down locations until I find a backdrop that not only intrigues me but also works from a technical standpoint. My reasons for choosing a particular spot vary—sometimes it’s purely for aesthetic reasons, other times it’s the energy of the neighborhood, or a wall that feels right at that moment. In places like New York, where I live, I’m constantly in awe. Even in my own neighborhood, the West Village, things have changed dramatically over the past years, so I try to capture that change by returning to the same wall from time to time, documenting its evolution.

Color and texture are essential elements when I’m looking for walls. What fascinates me most is the process itself—the way an unassuming, seemingly insignificant wall, one that might appear dull or ordinary at first glance, can captivate me purely because of its color or texture.

And in terms of the cultural differences you mentioned in your question, that’s another fascinating aspect for me. The way we walk, the way we dress, and the objects we carry all contribute to the energy and rhythm of a place, shaping our understanding of a neighborhood or city. But beyond that, there’s a deep connection between us and the spaces we inhabit. A person walking down a street for the first time moves differently than someone who takes the same route every morning on their way to work. How we navigate and adapt to our surroundings is a reflection of our cultural identity. That idea lies at the heart of this project—it's not about individuals, but about the collective "we".

I have been incredibly fortunate in how my career has unfolded. My father was a journalist, and my godfather a photojournalist, so I grew up surrounded by the art of observing the everyday. My first job as a photographer in New York City was with APAP (Association of Performing Arts Professionals), capturing musicians on stage—something I felt deeply connected to, as I had previously been a professional musician. A pivotal moment in my career was participating in the very first "The Other Art Fair" presented by Saatchi Art in Brooklyn. It marked a turning point for me—personally and professionally. Engaging with art lovers who interacted with my work and shared their thoughts was an experience I had only known as a musician, where feedback is immediate. As a photographer, that interaction is usually delayed, stretching from the moment the image is captured to when it is finally seen. My first "The Other Art Fair" was one of those rare moments where I truly felt the magic of being in the right place at the right time.

I’m not sure I’m the right person to give advice, as I’ve been incredibly fortunate, and luck plays a significant role in any artistic profession. We can’t forget that.

That said, two things that have worked for me in terms of visibility and building a sustainable career are perseverance—staying passionate even when things aren’t happening right away—and making sure to be present and visible as much as possible… Artist-led art fairs can be a significant investment, but they provide valuable visibility—whether immediate or long-term—and in career they have been absolutely worth it. Speaking from my own experience, I can say that one of the biggest and most interesting changes I’ve noticed over the years is the democratization of the art scene, which I think is really important for both the sustainability of artists and the accessibility for art lovers. Another shift I’ve noticed is how technology has allowed photography to appear in so many different formats, like public art installations…

I do think mistakes are part of the process of learning… but I would say that the fear of failure or rejection is perhaps one of the most challenging aspects of an artistic career. Overcoming it is a constant journey, but it’s essential if we want to be seen and continue to grow.

My "Time Lapse" Series is an ongoing project that has somehow become the most visible of all the work I’ve created or continue to create. But I’m always working, shooting, experimenting with textures, and exploring new mediums for my prints.

A few years ago, I started another project called "Transit", a collection of photographs taken from public transportation. This project was inspired by the idea of finding beauty while in transit. The series features dreamy landscapes captured in random places in between, creating a unique perspective that harmoniously blends scenes from different locations.

Each image is accompanied by its geographic coordinates, providing a tangible connection to the places where they were taken. I’m really excited about this new series. And while "Time Lapse" might be some sort of the tip of my creative iceberg, there are many other projects I’m continuously developing beneath the surface.