Landscape as seen from the comfort of the car seat is a distant space: undefined, inappropriable and often pleasing. Faced with the interruption of a stone battering off the windscreen to create a sizeable accident, there is no more than a sense of confusion. The questions spring one after the other: What happened? Was it real? Why me? In a fraction of a second everything has changed radically. The journey has been interrupted and there is nothing to do but remain in the place of the incident.

The series “Border Crossings” exposes the tense social and community relations that, in many of Santiago de Chile’s neighbourhoods, have provoked anonymous protests against the high-speed motorways that in recent years have invaded the city.

These images are like a metonymy: by means of a fragment they present the global issue of the articulation of our public space in relation to permanence, habitability, transport and individual privacy.

As prints of imprints, their cropping of space fractions and transforms the image to produce new mental landscapes; alluding to the distance between tale and fact.