I began my photographic work with “Children in Venezuela” and it was with them that seven years passed until in 1996 I found myself taking images of the photographic  environment through “Conuqueros”. I define Conuqueros as my great photographic achievement because of the change in images and in the meantime I do a work that absorbs me and I do not return to the conucos until I believe “The sun rises in the East” is finished, which was the life of the fishermen in the eastern zone, specifically Margarita Island. “Conuqueros” took me out of the country and I was able to move to the United States: Boston, Massachusetts and Tulsa, Oklahoma where the University of Tulsa offered me to be the curator and transporter of the work throughout the United States: this seemed like a stroke of luck to me. When I returned, I continued with “Conuqueros” and I didn’t know what the end of this work would be, which I refused to finish until 2001, when I found myself finishing it with a collection of almost 100 photos selected from hundreds taken over 10 years and with the idea of ​​publishing them because all the moments of the image have been translated into two languages: English and Spanish. When I finished the Sun Rises in the East, I began to do two works on Venezuelan areas where the image tells its story, and they are Caseríos y Caminos, which is an open work that grows as the images are presented throughout the national territory where I was at that time, such as Apure, Canaima, Aragua, Trujillo, Nueva Esparta, Ciudad Bolivar and the Eastern Zone, among others. Trujillo, I did this in 2001.

In 2002 I took on “Los Asuntinos”, a Venezuelan tradition with traditionally Catholic roots, specifically carried out on Margarita Island, where the palm-growers climb Copei Mountain to collect the palms that will be blessed and delivered to the parishioners on Palm Sunday. I continued to be involved in Venezuelan territory until I made a major temporary change in a photographic work on the ballet called DANZA, using the work “El Ensayo” and trying to capture the life of a theater in its 20 years of permanence. During those months I carried out a small work on a basket-weaving artisan in the state of Nueva Esparta. In September 2005 I began an ambitious project in the Paria Peninsula, finishing most of it by March 2006. I called it “PARIA” and made my first presentation with it incomplete in Sarasota, Florida in May 2006. I presented it for the first time in Venezuela in the State of Sucre, receiving great acceptance. Immediately after finishing PARIA, I made a short work in CIUDAD BOLIVAR capturing images that speak of the environment.

Another work is ARAYA, which will be exhibited in two points of the Peninsula to cover the images that speak of the area.

In recent years I have explored the Benítez Municipality of Sucre State and among the geographical points that comprise it are the areas of Guanoco, the Asphalt Lake, and very close to the indigenous area of ​​the Warao.

From there I move on to the urban documentary “El Carúpano de ayer y hoy” (Carúpano yesterday and today) that I made with the historian Carlos Viso, who based himself on the graphics in his newspaper archives to capture yesterday and today. I take it from the current reality, establishing a visual comparison. Then I take the most relevant information from the city of Carúpano to propose “El Carúpano que yo ví” (The Carúpano that I saw).