Pragmatic motivation – In the absence of another model, I sit down in front of the mirror and look at myself as an object of study.
Ontological motivation – I see myself, therefore I exist.
Gnosiological motivation – As first object of knowledge, I foremost deepen in my own self in order to discover me as well as possible. A way of deepening in myself is looking in the mirror and observing the manner I observe myself.
Psychological motivation – In my childhood, the mirror offered the revelation of my own person as a whole. Nowadays, whenever I risk to lose the consciousness of this unity, I have the opportunity to retrieve and recompose the inner being by contemplating my own image in the mirror.
Historical motivation - That was me and that was the way I saw myself.
The self-portrait is my autobiographical testimony, it reveals the way I perceived myself. It is my image for the time to come, the strength to further see the others and to further be seen by them. More than that: just like in a diary, a self-portrait is the testimony of that very moment, it is self's image in those very hours. The following day, one´s mood proves different, another human being will stay in front of the mirror. Maybe the yesterday man will never return, his everyday experience changing him perpetually.

Antiquity used to represent animals as gods´ attributes, Middle Ages - as saints´ attributes, while Renaissance was underlining, through animal presence, the grandeur of its outstanding personages (kings, noblemen, etc.).
 In my project, animal becomes man's attribute, easing his self-knowledge and revealing him the primordial unity of the world.

The Contre-jour project continues my constant preoccupation with representing the human figure, yet the approach is new and different from everything I have made before.
 My purpose is to create another kind of portrait, a portrait in which the model could be recognized without a detalied description of its features, yet not the individualized portrait is my main concern, but the generic representation of the human being.
 In the contre-jour portraits, the human fuses with its own shadow, thus creating a situation with deep symbolic and psychologic meanings. What is generally perceived as two separate entities – the Man and the Shadow – now becomes one. It is the process of bringing the shadow to the surface of the conscious, of knowing and understanding the abyss that lies in every human being.
 Filling the conscious mind with ideal conceptions is a characteristic of Western theosophy, but not the confrontation with the Shadow and the world of darkness. One does not become enlightened by imagining figures of light, but by making the darkness conscious.   (Carl Gustav Jung, from Alchemical Studies)

The experimental film is like a haiku – a moment, a mood, a poem concentrating in one phrase, representing itself as pure artistic expression.