How do territories change, evolve, distort and fluctuate through human interaction?

What traces do we find of our past? What are the traces we leave today and how will they build future landscapes? Will the plastics we throw away today be the fossils of tomorrow?

Entorno Inmediato functions as the present record of the landscape where time converges. I am interested in reflecting on the fossils that speak of a way of inhabiting the past, to understand what irreversible marks we are imprinting on our land today, in a context where global warming is, at least, unavoidable. I propose how the marine ecosystems of the southern hemisphere, with their secluded beaches, show the accumulation of solid waste, a product of marine currents.

I return to set the South as the North of my compass, letting myself be attracted by the inhospitable force of the end of the world where I was born. As a daughter of Patagonia, I return after twenty years to reconnect with my land. The southern Atlantic coast expands elusive and windy until it becomes ice. Returning from the Mediterranean, I look at the familiar with new eyes to rediscover what was my home.

Starting from my concerns about climate change, I work where the margins of science and art converge, using the technical elements to obtain an emotional precision. In my work I take from science its utilitarian aesthetics, which works on the symbolic plane with values such as neutrality, objectivity and credibility, which I question by bringing them into the realm of subjectivity. I try to appropriate this aesthetic code to explore the abstract and the unknown.

From here I determine the coordinates of my compass, tracing the path towards a spiritual contemplation of the territory.

North: photography. My primary emotional language to delve into the sensory.

South: experimentation. I search for a handmade connection with materials. I classify and order the terms.

West: the concept. I work on subjectivity from the scientific field. I clear doubts, I take terms, to reach my emotional conclusions.

East: the production. As a result of the balance of this process, the work emerges.

I understand the Immediate Environment project as a testimony of the Patagonian geographic space; anchoring my base in Magagna beach, I expose its shapes, textures and colors. I choose the element water for its fundamental quality for life and its symbolic connection with emotion. I take the clear blue color of the landscape. I intervene the pieces with fossil sediments of the place, clays and residues of the landscape. I expand the notion of photography to the installation plane of photo-sculpture, so that the testimony becomes a landscape in itself. I offer myself as a witness to this silent environment, and I offer this work as a testimony of this encounter.