Born in Santiago de Chile.

Has lived and worked in Paris, Madrid, San Francisco, California and Trieste, Italy.

Studied and worked as a professional and Fine Art photographer in the San Francisco Bay Area from 1990 to 2002.

Currently lives and works in France.

I have been a fine art photographer for almost 19 years now.
From the very first time I started taking photographs I tried to convey my way of seeing the world. I have done this especially through three different photographic mediums: infrared film, Polaroid film and digital photography.
I fell in love with infrared film because of the way it could change reality and give the world such a romantic and dream like feeling that was so completely surreal. Infrared film is a marvelous tool to show what our naked eyes can't see. It conveys the sacred and the dreamlike in the most mundane and nondescript places —a road, an old building, a park, an abandoned house— which suddenly acquire a lush, dreamy glow.
 I am interested in communicating what I see with my mind's eye, not what most people would call objective reality. I look for things that express the feeling I have that the world is in a constant state of flux. I like to reveal light where there is none. I want to show atmosphere more than facts. I use infrared film because of it's capacity to re-create reality, to open a hidden door into the mystery of nature and the magic of the treasures that are hidden in the commonplace.

Then I fell in love with Polaroid film because it allowed me to recreate a sense of texture, close to that of paint. Photography is usually considered as merely a way of recording reality. But I like to turn that concept around and challenge the viewer to redefine photography as an art in just the same way they would a painter. Polaroid film allowed me to work with photography in just this way, as a painter does with her brushes and pigments. And like all art, photography is subjective and represents the artist's world.

With respect to the work that I call Walls, it all started one day, as I was taking a leisurely walk through Trieste. At the time, I didn't know Trieste very well because I had just moved there. Sometimes a change of scenery for an artist is quite inspiring. From the very beginning of my career as a fine art photographer posters and ads stuck to the walls of our cities have produced a kind of fascination for me; but never so much as to create a whole body of work on them. I would take one picture here and there, and then forget about it in the darkness of a drawer. But this time in Trieste, I came upon a wall that took my breath away. It was a huge wall, literally covered with posters of all kinds and all ages. Layers and layers of old and new ads had created a "natural" work of abstract art.
I stopped my walk and started taking pictures. I worked the shapeless mass of paper on the wall to create a composition that would integrate color, texture, design and strong content to form what a good picture needs in order to have impact for the viewer. I wanted to create an image that would produce, in the eventual observer, the sensation of looking at a painting; a well organized painting that would produce pleasure, strong emotion, and curiosity. I wanted to make the viewer forget the fact that the subject was a simple street wall.
Not only did I want to create a painting, but I also wanted to convey the message that the wall was shouting. A message told by the people of the city, the weather, the passing of the seasons, the rain, the sun, the whole natural and synthetic world that the city had created as one beautiful work of collective art.
Since then I have been taking pictures of walls in every single city I have had the chance to visit.

Paz Graiño