Close-up photograph of a dark green palm leaf showing natural texture, central vein, and subtle yellow variations.

I work with images as a form of authorship, not as content.

With over two decades in visual communication, my practice operates at the intersection of editorial photography, art direction, and curatorial thinking. I understand the image not as an isolated visual, but as a language — a system capable of constructing meaning, presence, and narrative across cultural, commercial, and authorial contexts.

My background in advertising production, political communication, and curatorial studies allows me to integrate strategy, aesthetics, and conceptual structure into a coherent visual practice.

HUMAN LAYER

“These voices do not define the work.
They inform the way the work is questioned, structured, and sustained.”

Marco Samaniego
These images belong to my Human Layer: a constellation of visual, intellectual, and cultural references that shape the way I think, question, and construct images. They represent influences, conversations, and points of tension that inform my practic

Natalia Taffarel

Photo Editor · Retoucher · Visual Educator

Natalia Taffarel played a decisive role in shaping my relationship with image editing as an act of authorship.
Through her teaching, I understood post-production not as a corrective or decorative phase, but as a conceptual extension of the image.

Her experience working closely with professional tools and workflows (including Wacom-based processes) reinforced a disciplined, precise, and intentional approach to editing—where every decision carries meaning and responsibility.

These images belong to my Human Layer: a constellation of visual, intellectual, and cultural references that shape the way I think, question, and construct images. They represent influences, conversations, and points of tension that inform my practic

Greg Williams

Photographer · Cinema and Still Photography

Greg Williams represents a crucial reference in the relationship between cinema and still image.
His work demonstrates how photography can exist alongside film—not as documentation, but as an autonomous visual language with its own rhythm, intimacy, and narrative weight.

This influence is central to my interest in fixed photography within cinematic contexts, and in approaching portraiture with a sense of presence rather than performance.

These images belong to my Human Layer: a constellation of visual, intellectual, and cultural references that shape the way I think, question, and construct images. They represent influences, conversations, and points of tension that inform my practic

Enrique Vega

Photographer · Educator · Professional Reference

Enrique Vega represents a turning point in my professional trajectory.
His work and presence were fundamental in reconnecting me with method, structure, and long-term vision during a new stage of my practice.

More than inspiration, his influence reaffirmed the importance of returning to a system—where consistency, rigor, and authorship matter more than momentum or visibility.

These images belong to my Human Layer: a constellation of visual, intellectual, and cultural references that shape the way I think, question, and construct images. They represent influences, conversations, and points of tension that inform my practic

Susan Sontag

Writer · Cultural Critic

Susan Sontag is essential in understanding the image as a cultural and ethical act, not a neutral artifact.
Her thinking frames photography as something that shapes perception, memory, and power—forcing the image-maker to acknowledge responsibility.

Her work underpins my refusal to treat images as disposable content, and reinforces the idea that every image participates in a broader cultural conversation.

These images belong to my Human Layer: a constellation of visual, intellectual, and cultural references that shape the way I think, question, and construct images. They represent influences, conversations, and points of tension that inform my practic

Johnny Edwards

Photographer · International Educator

Johnny Edwards holds a unique place in my practice as the first international figure to inaugurate my studio through a workshop experience.
That moment established the studio not only as a production space, but as a site for exchange, learning, and transmission.

His approach to photography—rooted in clarity, intention, and professional discipline—continues to resonate as a reference for how knowledge is shared and embodied.

These images belong to my Human Layer: a constellation of visual, intellectual, and cultural references that shape the way I think, question, and construct images. They represent influences, conversations, and points of tension that inform my practic

Hans Ulrich Obrist

Curator · Cultural Thinker

Hans Ulrich Obrist embodies the idea of curatorship as a living practice rather than a static discipline.
His work emphasizes conversation, process, and continuity—principles that deeply inform my understanding of curatorship as a working method.

Through this lens, images are not simply selected or displayed; they are articulated, ordered, and activated within a broader narrative structure.