Project Statement

My artistic practice explores the relationship between technology, perception, and territory. I am interested in the technical systems through which the contemporary world becomes visible and in what happens when the images they produce are removed from their original functions and brought into the field of art.

Satellites continuously produce images to measure, map, navigate, monitor, and administer territory. We usually look through these images toward the information they contain: a satellite image is meant to be consulted, not contemplated.

ULTRADISTANCIA, the project I have developed since 2015, begins by altering this regime of perception. I work with images of real places produced by existing systems of planetary observation. I do not create imaginary landscapes. Instead, I remove technical images from their instrumental context and transform them into objects of sustained visual attention.

Although digital and satellite technologies suggest immediacy, my creative process is deliberately slow. Each work begins with an extensive exploration of territory, followed by a meticulous process of selection, composition, reconstruction, and chromatic transformation using digital tools and handcrafted techniques. Over more than a decade, I have developed a working method in which scale, texture, colour, and visual balance are resolved individually. There are no automatic procedures or presets: each territory poses a distinct visual problem and demands its own sequence of decisions and interventions.

This tension between technological speed and artistic slowness is central to my practice. Satellite systems belong to a world of massive data production and instantaneous access; I extract a single territory from that accelerated flow and subject it to an extended process of observation and construction. The acceleration of technological vision is answered by the deceleration of artistic vision.

The satellite becomes an extension of the photographic apparatus, occupying a viewpoint that no human body can inhabit. From this ultra-distance, familiar territories acquire unexpected forms: cities become organisms, airports become diagrams, agricultural fields become geometric compositions, and mines appear as monumental interventions of colour, texture, and form upon the Earth’s surface. Information becomes landscape, and landscape approaches abstraction.

Yet these images do not cease to be documentary when they become abstract. Everything represented exists. Their tension lies precisely in discovering that forms resembling paintings or invented geometries are records of real territories and of the natural, industrial, and economic processes operating upon them. 

My recent work has increasingly focused on the relationship between human intervention and planetary scale through mining landscapes, infrastructure, agricultural territories, and cities. Satellite vision makes visible transformations whose dimensions and complexity are often impossible to comprehend from ground level, revealing both their material reality and their unexpected aesthetic power. 

The physical production of each artwork is integral to this process. Photographic paper, acrylic, metal, textiles, printing, mounting, framing, surface, colour, and scale are selected according to the requirements of each image. Through its material construction, the work returns a technologically mediated territory to the scale of the human body, transforming an immaterial flow of information into an object with presence, surface, and weight.

At the centre of ULTRADISTANCIA lies a contemporary paradox: technology has given us an unprecedented capacity to observe the Earth, yet seeing more does not necessarily mean understanding more.

Art can operate within that distance. It can suspend the utility of the technical image, slow down our gaze, and reveal what was already visible but remained unseen. ULTRADISTANCIA moves from territory to technology, from information to image, from speed to slowness, and from digital vision back to physical experience. It asks what happens when an image created to measure and administer the world becomes an image through which we can contemplate it again.

From this distance, geographical boundaries remain real, but they no longer determine how we see. Territories separated by oceans, cultures, and histories begin to reveal unexpected connections without losing their singularity. The satellite gaze does not erase difference; it offers another scale from which difference and interdependence can be perceived simultaneously.