How would you describe yourself, in a few words?

I am an extremely curious person, often obsessed with understanding why and how things happen.

How has your background in journalism influenced the way you plan out your series?

I have always felt that my research methodology is more influenced by personality than by what I studied.

I feel I ended up studying journalism looking for tools to help me develop something that was already innate in me.

Why do you choose to work with different mediums?

For a long time, using different mediums was part of a process of breaking barriers and finding ways to work around photography when I felt like it was not enough to tell the story. Then I realised I could just follow my guts and be free to explore.

Do you think there is such a thing as a “woman’s gaze” in photography?

There is for sure a predominant patriarchal gaze. Often many women have been forced to adopt it from the status quo, since it was the only one accepted, taught, awarded and normalised. And doing something different would make them renegade from the mainstream outlets. Now it’s hard to tell, since gender is also in crisis, and labels are complex, but I’m certain there is a bit more space for new ways of seeing.

In A History of Misogyny you tackle many injustices towards women, how do you pick out the themes on which you want to work? 

It has been a very organic process. It all started while trying to find untold stories and issues that weren’t talked about in mainstream media. But I always felt a personal link towards them – at least a spark that would trigger something in me and would generate the curiosity for me to understand.

Now, projects become larger and more complex, and many aspects are involved, but I’m trying to get back to the root and slowly force all my perspectives towards a more personal approach – since it has always been there.

As a woman, what did you learn whilst working on this project? 

My work as an artist serves to shape my empathy, my ethical and political values, as well as to give me a broader perspective of the world.

Have you ever suffered from prejudice because of your choice of subjects?

Of course.

Why is feminism important? And in the photographic field?

I understand feminism as basic human rights. How would that not be relevant to photography?

Which authors have inspired you? Are there any women photographers among them?

Sophie Calle, Taryn Simon, Teresa Margolles, Barbara Kruger, Ana Mendieta, Helena Almeida…

What would you say to a young photographer who is afraid to take the plunge?

Find a reason in your mind why this is the path you should take. Once you’ve gotten rid of all the ego-related matters, this reason will be the only way for you to stay strong when things get tough.

Your series On Abortion has just entered the collections of the Centre Pompidou. What does it mean for you?

Being part of the permanent collection of the Centre Pompidou gives my work On Abortion a timeless meaning, and offers a space for A History of Misogyny. Because the goal of this work is that we never forget that our rights will always need to be protected.