My entire body of work has been around the search and push of the limits of the two-dimensional image. I explored photographically and with my PhD the limits of light, framing, surface or point of view, between others. The next step was to search for the limit of the pixel and the apparatus itself, the limit of the software. 
I combined two leitmotivs for this project: to search for the limits of the software and to explore the photographic act as movement of the body, a performatic photography - in constant search of new ways to understand what is photography, and in this case focusing in the physical experience of photography itself. 

By using the camera in a different way that was programmed for, the software fails and makes what it is known as “glitches”. This fail is due to the movement of the body while drawing with the apparatus the outline of the mountains - a contemporary review of the sublime experience -. I do not edit, it is merely the trace left during the shot, the physical act of drawing with the camera, a dance, a walk - peripatêín -. 
This peripatêín between my body, the landscape and the camera creates a black pixel countermould of the peaks that become a new mountain itself, a process of digital orogenesis. A digital mountain created by movement as a reflection of its moulde. 
The last few years I have been obssesed always with the environmental issues, publishing some work about this matters. I wish, as Carleton Watkins and Ansel Adams did once with their photographs, to invite people with this project to cherish and experience the mountains, in order to preserve them. Otherwise, the only mountain left to walk would be its digital countermould.

The reference in the title to the work of Joan Fontcuberta is obvious. 

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This work is directly related to my conference #tagitergosum held in Ioannina, Greece, 2019

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it has been published in lensculture magazine

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