From 2013 to 2020, I stepped away from urban life in São Paulo (Brazil) in search of other ways of living and relating to the world. The meaning behind continuing to live within the patterns of this society felt worn out, and disconnection ran deep. I moved to rural communities in the Global South, where I spent seven years in close contact with the land, learning through its rhythms and cycles. Life there was shaped by collective work, shared time, and a way of being together that included not only people, but also a consistent attention to non-human life.
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During that time, I also traveled through parts of Latin America — Uruguay, Argentina, Peru, Colombia, Ecuador. I see this experience as ontological: it revealed other forms of presence and different ways of being in the world.
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Sete comes from this process. It’s a photographic project shaped by time and proximity. It tries to dissolve the divide between nature and culture, leaning into a relational view where humans are part of a broader living system. Photography here isn’t just about capturing — it becomes a way of listening. A gesture. A ritual. Part of a rhythm, not separate from it.
Rituals and ceremonies became important during those years — not as isolated events, but as ways to sustain life. Photography moved with that current. It became a practice of attention, grounded in presence. A way to recognize what is fragile, what escapes language, what exists between things.
