What is the minimum unit of photographic representation? How far can we go in its visual dimension without losing its documentary value? What about when the viewer can directly influence the image? And what if the image is generated through a procedural system? How does imagery from the virtual world affect the photographic image? What happens if, on a symbolic level, what the image represents occupies another physical space due to the materialization of the work? Should we stop valuing the photographic image in itself and see it only as the trigger of a much more complex visual process?

These questions lead me to explore the intersection of photography and the possibilities offered by new technologies. Many of these projects have not yet been produced and remain unpublished, but I consider them an important part of my practice— an exploration of the photographic medium.

28045 is the postal code of the neighborhood where I live, Arganzuela (Madrid), a place that has undergone various transformations throughout its history. Recently, due to its proximity to the city center, tourism trends, the construction of real estate developments aimed at high rents, and the recent work for the expansion of Line 11 of the subway, its identity is being transformed again due to a clear process of gentrification.

Because of this, I aim to create a photographic record of its physiognomy through the materials used for its construction, the communication elements in the streets and shops, and the traces of life in the area. Popular textures describe the nuances of daily life in the neighborhood, the aspirations and longings of its inhabitants, as well as their complexities.

Following this, I have applied these images to different geometric bodies, as if they were materials within 3D modeling software, restoring their spatial dimension to these identity codes as an act of resistance.