Gabriel Gómez (Caracas, 1993) photographs as one remembers: softly, obsessively, afraid of losing what has already begun to fade. His images emerge from nearby, ordinary realities of rooms, bodies, and gestures, yet they are transformed through a refined editorial sensibility that elevates the everyday into something subtly ceremonial. Moving between fashion, portraiture, and still lifes, Gómez balances conceptual rigor with deep emotions, allowing intimacy and restraint to coexist in the same frame.

Photography arrived early in his life, first as a consolation for a shy gaze, later as an extension of his inner world. What began with landscapes and wandering attention slowly evolved into a language of vulnerability, melancholy, and calm, translated into pastel tones, pauses, and flashes of light. His work carries the atmosphere of a lucid dream—images suspended between what was, what might be, and what will inevitably disappear.

His long-term project Journal: I Should Have Come Yesterday (2018-2023) unfolds as an archive of becoming: fragmented, non-linear, and bound by continuity rather than chronology. Inspired by his move from Caracas to Paris, the project is rooted in a fear of forgetting. The series asks what truly defines us: our memories, our silences, our tenderness, and insists on presence to counter forgetfulness. In later works such as White Noises (2023), Gómez turns toward the in-between: the silence after love, the trace left by absence, the textures of memory that cannot be fully named but continue to shape perception.

Gómez is currently based in Paris and has been published internationally and awarded for both documentary and fashion work, including the 2024 Prix Picto de la Mode granted by the Filippo Roversi grant and the Unique Photography Prize at Les Prix Jeunes Talents in Paris (2023). His work was exhibited solo in Galerie Madé in Paris (2023) and Cabinet Gallery in Caracas (2025), in addition to a group show in Milan, as part of Photovogue Festival, Panorama Latinoamerica (2025).