Camilo considers himself a creator. His intention to create extends beyond design and photography; he sees the creation of furniture and his photographic practice as interconnected, converging into a single meaning.
This meaning is something he may have been searching for since childhood. As far back as he can remember, he has been fascinated by the past—ancient cultures, lost cities, ceremonial sites, artifacts, and other traces of civilizations. Yet his fascination has always been less about questions of who made them, how people lived, or what purpose they served, and more about an intimate, visceral connection to form.
He is drawn to ruins, sharp edges, and structures that were once built with intention but have since become something else: vague echoes of the past, relics of other cultures, transformed by time into new realities. Monolithic forms and the passage of time allow materials such as stone, wood, glass, and bone to become something different.
At the heart of his practice is a fascination with erosion and longing. The artist is intrigued by the way nature intervenes and asserts itself, reminding us that everything is in constant motion and that nothing endures—not even ourselves.
This profound and compelling connection to the past is what drives the artist to create: to recreate that experience through their work and offer it to others as an invitation to reflect. Their work becomes a meditation on our brief presence in the world, the futile pursuit of perfection, the inevitable flow of change, and a deep reverence for nature.
