Works

Novia Digital is a music video built around a simple idea: in contemporary societies, becoming aware of what programs us and being able to move beyond it may be one of the most profoundly human acts.

The film accompanies an original song I composed specifically for the project. Music, lyrics, narrative and art direction therefore stem from the same concept: confronting what makes us predictable with what remains alive, contradictory and impossible to configure completely.

I chose Madrid because of a personal attachment to the city, but also because of the clarity of its duality between institutional heritage and alternative culture. This opposition runs throughout the film through the relationship between statuary and street art, between established forms and expressions that are freer, more immediate and contemporary.

The reference to Goya emerged naturally through his representation of the witches’ sabbath. Here, I see the witch as a figure for those who move too far beyond established frameworks, norms and dogmas to remain entirely acceptable or controllable. She becomes a figure of deprogramming, rather than a folkloric symbol.

The film also enters into dialogue with Rosario de Velasco, through her representation of a modern, ambiguous and autonomous femininity, and with Botero, particularly Mujer al espejo, as a way of questioning the representation of the female body, the gaze placed upon it and the roles assigned to it.

The protagonist moves through these images, codes and frameworks in a progression of observation, understanding, defiance and finally liberation.

Ultimately, Novia Digital traces the passage from an individual shaped by their environment to one capable of recognising that framework, subverting it and moving beyond it.

All I Get is a 20-second music visualizer designed to loop throughout ASAL’s track of the same name. Born in Iran and raised in Vancouver, the artist develops a sound at the intersection of R&B, alternative hip-hop and more atmospheric influences.

The project reinterprets the lyrics and the artist’s visual world around a post-breakup realisation: the recognition of having continually given without ever receiving anything in return.

This idea of one-sided exhaustion inspired a parallel with climate disruption. In a landscape evoking the Los Angeles wildfires, a woman remains alone and introspective, facing an environment she no longer seems able to control.

Suspended between resignation and an instinct for self-preservation, she embodies the moment when continuing to fight can express hope while also prolonging one’s own destruction. The loop deliberately sustains this tension without offering a resolution.

SUCCESS is a 4:3 mini music video built around a question: what is success worth when its cost outweighs victory?

The film takes the form of a slow dolly-out single take. It opens on the face of a boxer, exhausted, motionless and almost stunned. As the camera pulls back, the context gradually reveals itself: his opponent lies on the canvas, while the referee and medics move around him and the crowd remains standing, frozen in shock.

The winner does not celebrate. His lack of reaction gradually transforms success into an ambiguous, almost hollow victory. As the camera moves farther away, the frame expands while isolating the boxer even more.

The original music combines an instrumental composition with layered, harmonised vocals, creating a suspended calm that feels close to spiritual elevation. In contrast with the urgency of the ring, it brings out the film’s central question:

I won, but at what cost?

For YBB Sport Eyewear, I built a film around a pair of speed sunglasses and an everyday running session. The objective was to transform a simple routine into something more intense, physical and aggressive.

The art direction deliberately draws from contemporary sports imagery, particularly Nike and, more recently, CUPRA. What interested me in these references was their ability to give ordinary athletic gestures a more spectacular dimension.

The image is deliberately dark, desaturated and highly contrasted, with deep blacks and strong whites. The black running track and rain add depth, reflections and a more graphic presence to the environment.

The silhouettes are revealed in fragments, reinforcing the tension while avoiding an overly descriptive representation of the athlete. The eyewear remains integrated into the face, movement and physical effort rather than being treated as a conventional product packshot.

As YBB is a fictional brand built around an inexpensive object, the project also explores the transformation of its perceived value. The idea is to demonstrate how, with limited means but precise art direction, an independent brand can produce imagery with a much more ambitious visual presence.

THE DOVE is a speculative editorial photography series imagined for the Willy Chavarria x adidas collaboration. The project seeks to highlight the cultural heritage carried by Willy Chavarria without reducing Mexico to an accumulation of folkloric symbols, while remaining faithful to adidas’ immediately recognisable language of sport, collectivity and performance.

Mexico is approached as a lived territory: ancient architecture, semi-arid landscapes, vegetation, handcrafted materials, weathered walls and domestic spaces. These locations give the clothing a sense of origin, memory and substance. They extend the encounter between Chavarria’s culturally rooted world and adidas sportswear through questions of identity, representation and self-affirmation.

The outfit functions as a contemporary uniform. Its oversized proportions, football references, badges, number and “MEXICO” inscription express both collective belonging and individual experience. adidas introduces the ideas of teamwork, discipline and preparation; Willy Chavarria adds cultural pride, dignity and a more intimate and political presence.

At the centre of the series, the dove becomes a partner, almost a teammate. The subject encounters it, walks alongside it, feeds it and prepares it. Peace is not treated as a passive symbol, but as a force that must be maintained, protected and strengthened.

In the final image, the dove is confronted by a snake. This encounter gives form to an internal conflict: fear, doubt or instinct testing the balance that has been built. The subject remains in the background and observes. He does not intervene, because the peace he has cultivated must now face the threat on its own.

THE DOVE is less about the search for peace than the trust placed in it.

SUKI is a speculative social media video campaign developed around Jacquemus’ Summer 2026 collection, embodied through a look composed of six products.

The film reinterprets the imagery of the French Riviera through the eyes of a Parisian woman on holiday. Overcome by boredom, she suddenly decides to take her sailboat across the bay and reach a nearby village to get… an ice cream.

This deliberately disproportionate journey expresses a particular idea of luxury: having the time, freedom and means to pursue a personal desire, even when it may appear trivial. The product becomes part of a story built around impulse, pleasure and the freedom to follow an idea all the way through.

The art direction combines Jacquemus’ colourful, sun-filled pop codes with a softer, slightly faded and cinematic image. This approach preserves the brand’s playful energy while creating a more intimate narrative.

The 1970 song Suki yo Aishite by Mari Atsumi, rooted in Japanese pop, accompanies the journey and reinforces its light, romantic and subtly offbeat character.

Focal Ad is a speculative commercial film developed around Bathys, Focal’s wireless active noise-cancelling headphones. Founded in Saint-Étienne in 1979, the French company specialises in high-fidelity acoustic solutions, ranging from loudspeakers and headphones to professional studio monitors.

The exercise consisted in understanding the brand’s identity, audience and positioning in order to construct a simple and immediately perceptible message. Because Bathys is designed for a knowledgeable audience, I chose not to explain its performance through technical data, but to represent its effect directly: the grace of music and the precision of listening.

The film follows a man entering a private car, putting on his headphones and closing his eyes. He suddenly finds himself alone in a contemporary opera house, facing a pianist. This instantaneous transition transforms an ordinary journey into an intimate musical experience.

The staging is built around a form of synaesthesia: sound becomes a space, precision becomes an image and listening produces a sensory displacement. The headphones are no longer presented as a simple technological object, but as access to a refined, subtle and complete musical experience.

CODE 00 follows a spectral figure guiding the viewer through an abandoned Italian palazzo, a symbol of an ancient culture shaped by memory and references.

The ghost acts as a guide between worlds. It moves through this inheritance towards a mirror conceived as a threshold between two eras. Through a morphing effect deliberately connected to the aesthetics of artificial intelligence, the reflection reveals an entity made of liquid chrome: an unstable, contemporary form representing a culture that is still emerging.

The film does not seek to oppose the past and technology, but to reveal their continuity. Every new image is built from forms, sensibilities and narratives that already exist.

The song Como Tú by Olivia C. Dacal accompanies this transition and evokes the machine’s desire to function like us, to understand our emotions and the way we create meaning.

CODE 00 therefore introduces an approach to art direction situated between cultural memory, digital experimentation and emerging visual imaginaries.