Luis Marino presents us with a collection of disturbing photographs, to say the least. These are used to introduce remarkably innovative proposals which speculate with forms of expression and communication so far little explored. 

The arrival of virtual reality led to the crisis of the analogue reality. Since then, most critics have reminded us that the ambition that photography must be the most important sign of displaying reality is little more than absurd. 

This is easily observed in Luis’s work since the landscapes are consciously manipulated and disturbingly artificial despite being true; which confuses and shocks those who approach them. 

Disappearance is shown by means of a complex parable with the aim of making its “presence” be felt. It also moves the spectator’s perceptive capacity to the point of making them go back and forth, where the origin of the territory is suggested or guessed rather than perceived. Where is the artwork? In the final result? In the process? Neither. Both - process and result - are partial and complementary visions of an interacting whole: the conceptual premise. 

Through the image, the spectator must guess the origin, the beginning of everything. In short, the geometries, which in most cases are simple and pure, adopt a new and enigmatic tone. 

The technique used allows one to get as close as possible to reality, trying to imitate it. However, once one has come so close, in the end it ceases to be reality. 

The camera only captures what is in front of it and hardly allows one to know all the circumstances surrounding an image. After all, the genuine reality - as Luis well does know - does not exist, only its representation.