To this day I am still looking for the answer of why I do selfportraits. Setting the camera over a pile of books and taking a photo of myself holding branches – in 2005 – turned to be the idea that saved me. Now I live with this blissfully obsession of encapsulating the feelings behind experiences over time. Most of them are shot without a plan and evolve to its final shape throughout its process. They become what they want to be and I bow to their decisions. It somehow feels like staring a mirror where I reflect myself as a stranger, so these feelings can be portrayed from an observer's point of view... still, understanding them is a non-lineal activity and I get back to them over time. Something that I did in 2008 makes sense just now, in 2019.

I think that, overall, these selfportraits construct a cabinet of emotions I can revisit to understand more about myself and how I see the world. Yes, I think that's the answer.

– From Jon Jacobsen ship's log.

From my perspective, daily life lies between the real world and fantasy, they both look imperceptible for us, we are not conscious of it until something happens and breaks this state, triggering an emotion and symbolic relations that blurs the limits of what we are and what we belong to: We become part of a whole.

This broken state goes beyond what the photographic language can capture. To fill this gap, I mix digital techniques that expand the semiotics of the image, to the point of merging fantasy with reality, interpreting the image of our vulnerability facing our surroundings and the inexorable passing of time in each one of my portraits and self-portraits.