Untitled (2012), reasons for a new series still in process.These photographic essays are the result of chance: tangential products of a trip made by the artist to the mountains of Peru.These are precise shots of detail on the road that goes from the city of Chupaca, to the Huancayo entrances, crossing Chaquicocha and Yauyos to culminate in the coast in the city of Cañete.The hard light on the surface of the road accentuates textures that resemble meticulous abstract drawings. It is, above all, the registration of the marks left by the constant arrangement of the road, a stretch in permanent repair due, not only to the constant transport of the inhabitants of the communities that this road crosses but above all to that it constitutes a route of entry to various mining efforts in the area.This maintenance of the route entails the perpetual transformation of its morphology: the traces in the territory tell us of a sustained economic exchange, but the figure of the patch also refers us to the idea of the merely dermal or superficial solution of something that demands our attention . However, beyond the concrete references to the social reality of the area, the interventions on the road remind us of an infinite task: both for the workers in charge of their intervention - those who work from east to west, only to start again once that end -as for the same artist, who for the lapse of a couple of weeks went to record changes in an obsessive work without a specific purpose, as demarcating the search itself. Arranged loosely on the walls of the gallery, these track fragments, textured diagonal abstract of different sizes, point in different directions, generating a tension in the room that matches the directionality of its motive, creating disorientation, suspension.

Untitled (2012), reasons for a new series still in process.These photographic essays are the result of chance: tangential products of a trip made by the artist to the mountains of Peru.These are precise shots of detail on the road that goes from the city of Chupaca, to the Huancayo entrances, crossing Chaquicocha and Yauyos to culminate in the coast in the city of Cañete.The hard light on the surface of the road accentuates textures that resemble meticulous abstract drawings. It is, above all, the registration of the marks left by the constant arrangement of the road, a stretch in permanent repair due, not only to the constant transport of the inhabitants of the communities that this road crosses but above all to that it constitutes a route of entry to various mining efforts in the area.This maintenance of the route entails the perpetual transformation of its morphology: the traces in the territory tell us of a sustained economic exchange, but the figure of the patch also refers us to the idea of the merely dermal or superficial solution of something that demands our attention . However, beyond the concrete references to the social reality of the area, the interventions on the road remind us of an infinite task: both for the workers in charge of their intervention - those who work from east to west, only to start again once that end -as for the same artist, who for the lapse of a couple of weeks went to record changes in an obsessive work without a specific purpose, as demarcating the search itself. Arranged loosely on the walls of the gallery, these track fragments, textured diagonal abstract of different sizes, point in different directions, generating a tension in the room that matches the directionality of its motive, creating disorientation, suspension.