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Since the early '80s, the photographic lens has been his ‘third eye’ focusing on various aspects of reality in order to survey and display the relationship between ‘look’, ‘see’ and ‘imagine’. 
For 15 years photography had been just straightforward 'frame & click' without altering the image captured by the camera. 
Then, in 1995, the preparations for a photography exhibition triggered a leap from chemical to digital technology. 
The earlier photographs that were transformed into digital creations through computer processing, were soon coupled by pictures from the Internet and a digital camera. 
The vast new field of experimental creativity combining photography & image processing was labeled as "computer photographics".

The aim of that creative journey has been the same from the very beginning: To explore and transform ordinary views into something completely strange, bizarre or abstract. 
It is a kind of de-construction of usual themes and re-construction of an innovative visual proposal which can spark imagination and lead to unconventional interpretations of commonly perceived reality (see some thoughts below).

 some thoughts

"What humans would know about the moon or the stars should they have no eyes?" ;
"How do plants perceive their environment, with whatever kind of senses they might have?";
"How many things exist around us that we don't even suspect about because we do not possess the required senses?"...

Later I read about Plato's 'cave', with the 'shadows' of cosmic reality projected on its walls and us struggling to interpret them in our fervour to solve the puzzle of 'reality'.

Somehow we have managed to expand our understanding of Cosmos, either by advances in mental processing of those 'shadows', or due to technology that enriches our senses -especially vision. So now we know a few more things about e.g. the infrared world, the plankton or distant galaxies.

Yet, we still do not 'see' all things around us, for centuries being prisoners of our senses and the limitations of human thought. But there is no doubt that we are surrounded and influenced by invisible forces, conditions or even beings, that perhaps we will comprehend some day, as it has happened already with magnetic fields or bacteria.

It is that kind of thinking that I try to depict -or evoke- with my pictures. That's why their usual subject is fragments of the environment, visible to all, as they appear through the contemporary extension of the eye, the camera lens, enhanced through adjustments at the near end of the visual axis.

The simple 'click' of the shutter, which freezes an aspect of reality, encompasses or acquires elements that exalt conventional vision: Isolation of details (like in the microscope), transformation of colours (like in infrared photos), or disclosure of new forms (like in x-rays).

From the aspect of revealing an 'alternative' look of the world around us, my pictures are not far from scientific imagery, like e.g. magnetic tomography or satellite photos. The difference is that my task is not a quantitative analysis ("The tumour is that big" or "Wheat production in China is that much"), but a rather poetic depiction of hidden dimensions of reality.

This approach differs from the one pronounced by the forms of abstract painting: They are products of a purely mental conception which is expressed by human-made pictures following the creator's impulse and skill. The influence of technology, through the paintbrush or chemistry of colours, is limited.

By contrast, my pictures are a direct projection of reality itself, like every photograph. Through subsequent processing, a number of 'filters' are added, based on personal choice and objectives. The basic instrument -deliberately autonomous sometimes- is the highlight of contemporary technology, the computer, guided according to its operating rules.

TNS 1998