Digitally reversed black and white pinhole on Ilford Paper.
Made in collaboration with Bianca Portugal, Luis Parras, Ítalo Parras, Mark Dayves e Augusto Mojica.

Salvador, Bahia, Brasil.

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In Reminiscent Family, performance and photography become intertwined means for imagining family otherwise. Working through the historic texture of pinhole photography—its slowness, blur, light leaks, fragile edges, and sense of temporal drift—the series does not document a family as a fixed social unit, but stages kinship as something rehearsed, rearranged, and collectively improvised. Bodies gather, veil themselves, sit beside one another, disperse into shadow, or return as partial presences; architecture, cloth, and objects enter the frame not as background details but as active participants in the making of relation. The pinhole image, with its unstable and almost ancestral surface, allows performance to move away from portraiture toward apparition, ritual, and speculation. What emerges is the possibility of a rearranged family: one formed not by bloodline or official record alone, but by gesture, proximity, collaboration, and the poetic endurance of those who can still be assembled through image.