He holds a Master's degree in Photographic Creation from Pompeu Fabra University and Elisava (Barcelona, Spain), specializing in conceptualization, creation, and visual communication. He subsequently completed the Specialisation Programme in 21st Century Art - Postcontemporary, Emerging, and Digital Art at the Higher Institute of Art (Madrid, Spain). This education enabled him to delve deeper into current aesthetics and solidify an interdisciplinary approach to the artistic conception of the image.

His works are related to the visual exploration of the physical world and the use of photography as a means of metaphysical reflection. He is interested in visual poetics, abstraction, the creation of images for social transformation, and the analysis of new creative methods in visual art. The work «Big Crunch» is an example of the connection between poetics and abstraction, while works such as «Fabula» or «The consensus factory» employ creative methods aimed at critical thinking and social change.

Among his most recent recognitions are the Fine Art Photography Awards Nomination (2017), selected work at the Ciudad de Badajoz Awards (2022), selected work at the XIV Certamen d'Arts Plàstiques (2023), and finalist project at Kursala 100 - University of Cádiz (2023). He has participated in various art exhibitions, with works displayed at the Luis de Morales Museum (Badajoz), Centre d’Art Sa Quartera (Inca, Mallorca), and Yila'ob Cultural Centre (Mexico), among others.

Additionally, he is the author of several essays and articles related to photographic thought and the use of images in contemporary society. Among these works, he is particularly known for coining the term «inagraphy», which defines still images generated by artificial intelligence as a new category within visual art, differentiating them from those obtained through traditional photographic methods. This neologism sparks a profound debate about the role of machines in artistic creation and the concept of authorship.

«The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?»

John Szarkowski, 1978 (Mirrors and windows: American photography since 1960, p. 25)