It is said that a crumpled piece of paper can never regain its original shape; the trace persists.

In the same way, nature which is
disrespectfully invaded is forever broken, and many times unrecoverable. 

Since my first projects, even when I incorporated portraits in my narratives, my interest revolved around nature as an emotional haven, a place for connection. 

My intention has always been to deeply experience spaces and convey a sense of silence through my imagery, a time for contemplation and introspection. 

I have traveled from the south of Argentina to Greenland's ice sheet in search of landscapes with a particular mood and beauty, unspoiled landscapes, almost surreal. The presence of man seems not to exist. They appear to be places that have never been inhabited, solitary, where the immensity reveals itself, and where I have lived experiences of intimate connection with this isolated nature, almost like a private sanctuary. 

It was in those moments, where it became clear that nature is also vulnerable, fragile. It is perhaps because of this feeling that, back home, I devised a strategy to try to return the gesture to nature. As a tribute, and possible farewell, to my emotional haven, which has experienced severe environmental degradation, and through the materiality of the printed image, I intend to highlight the violent damage they suffer, manipulating and twisting my own personal landscapes. In these landscapes that at first glance seem so pristine and immaculate, we then notice their decline, their deterioration, which becomes a wake-up call, a way of questioning our relationship with the natural world. 

I am increasingly interested in the concept of Expanded Photography, where photography merges with other areas of the visual arts, such as collage or different types of manual interventions. Pure photography was no longer enough to translate my experiences and concerns. 

My process begins with the registration of my experiences in nature and continues with a meticulous selection of which landscapes from my archive of images will be subjected to experimentation and intervention and is completed with a new photographic shot. 

In the series "Topographies of Fragility," I alter, and perform violent gestures on the image of the landscape chosen, which is then the laid on top of the same untouched photographic vista. This operation on the printed photographic paper allows me to reflect on the permanent and irreversible traces of my actions, in a poetic allusion to our relationship with our planet.

My current work is not meant to be documentation about specific environmental problems of the photographed spaces, but rather a metaphor of the fragility of nature, as well as of human fragility itself, and my intention is to incite in the viewer a sense of self-reflection, to raise awareness and make my small contribution, so that we humans can begin to think of a world in harmony with nature and understand that we are part of an alliance, nature, and humans, together. 

It is said that a crumpled piece of paper can never regain its original shape; the trace persists. In the same way, nature which is disrespectfully invaded is forever broken, and many times unrecoverable.