To make perceptible the way in which we ontologically inhabit the world entails recognizing that societies organize relationships between humans, animals, plants, mountains, rivers, objects, and spiritual entities in radically different ways. There is, therefore, no single objective nature shared by all of humanity, but rather a construction of the natural world formed through the interconnections established between humans and non-humans. The challenge lies in representing that which is manifest yet at the same time ineffable through the logics and forms of expression upheld by instrumental reason.
 

Recognizing that all representation expresses a particular way of organizing the world and brings to light the relationships that a society considers significant, María Primo embodies in this exhibition a threefold shift—geographical, epistemological, and artistic—that led her to explore the limits of her own practice and to find new ways of representing one of our many shared experiences with the living world.
 

In the rural setting of the Huesca Pre-Pyrenees, while completing her residency at Villa Bergerie with support from the Pollock-Krasner Foundation—in the heart of “depopulated Spain”—the artist escapes the fast-paced and highly planned urban world. A physical and literal move, but also an emotional and rhythmic one that leads her to an epistemic shift: from wanting to control the landscape to respond to it, from acquiring knowledge as an objective observer to intuitive assimilation, to a multispecies coexistence that abandons human exceptionalism, from capturing with the camera to allowing the environment to transform her practice. For this reason, Primo sought to rid herself of the camera, to devote herself to the manual and random process of cyanotype, to surrender to the irregularities of natural textiles and the spontaneity of reused materials.
 

In the Huesca region, María begins a a situated learning process about the region, its landscapes, its geography, and the specific ways of living in an agricultural area that, since the last century, has been transformed by an intense process of depopulation, industrialization, the mechanization of agriculture, and rural exodus.
 

Among these changes, plastic takes on special significance, becoming the central—albeit ambivalent—symbol of this project. In particular, the artist focuses on the plastic twine used to tie bales of straw, which she employs to create some of the cyanotypes. This virtually indestructible material, derived from fossil fuels, supports deeply vulnerable activities such as sheep herding. As flocks disappear along with shepherds and forms of extensive livestock farming historically linked to the territory, the photograms created using discarded sheep’s wool reveal a shared existence that arises from the tensions between technical progress, dependence on plastic, and environmental degradation.
 

Far from catastrophism and bleak predictions, Figurar lo visible does not seek to offer yet another environmental indictment;rather, it poses a more difficult but more healing question: How can we learn to live and die well together on a planet that is already damaged? The works in the exhibition seek to foster an endless process of awareness built on constant questions rather than definitive answers—an awareness that can only be achieved by breaking down the dichotomies through which we typically conceptualize our relationship with the environment (nature/human, subject/object, human/animal, mind/body, matter/thought). If the cyanotypes give form to a different way of understanding our relationship with the non-living, the rope, the net, and the roots—traces of the plastic itself—suggest identification rather than antagonism between the “artificial” and the “natural.” Through these pieces, Primo invites us to join her on her most significant shift: from anthropocentrism to interconnectivity, transforming plastic into a universal symbol that permeates everything.
 

The aim to break down these categories of thought runs through the rest of the project, from color to the disciplines and forms of expression involved. Prussian blue ceases to be a formal feature and becomes part of the exhibition’s symbolic vocabulary. It is water, atmospheric circulation, the sky, the porous, the fluid, the non-binary. Like plastic, water is everywhere; we are, and we coexist with aqueous and plastic bodies. Understanding this shared materiality has ethical and political implications. It involves seeing the world through the lens of relationship, vulnerability, hybridity, and mutability—rather than through opposition, contradiction, or classification.
 

It is this perspective that enriches the exhibition, given that, in the end, the artist found it impossible to abandon the machine. Artisanal processes and ideas about caring for nature also take shape through video, as in the work Porosidad, or through the camera, which feeds into the risograph publication accompanying the exhibition, reflecting the interplay between the biological-synthetic-the living-the produced.
 

Photography ceases to be an artistic discipline and becomes a way of thinking through the act of making—a process in which the conscious practitioner and the materials respond to one another in the creation of form. The final image does not arise from a camera that captures the world from the outside; it arises from contact: light with paper, the string that interrupts the light, the water that reveals the image. The materials play an active role.
 

Representation does not consist solely of copying what the eyes perceive, but rather of giving tangible form to the connections, qualities, and modes of existence that structure a particular ontology. The image is thus no longer understood as a reflection of the world but becomes a device that actively participates in its composition and in the way it can be perceived and experienced. In this case, the image is above all a relational operator between the organic and the plastic, leading us to see that it is precisely this interconnectedness that holds a territory together even when its fragility becomes visible; the artificial strings are what sustain agricultural activity while simultaneously contributing to the ecological crisis.