<sup>What are the limits of perception of images? Long before artificial intelligence algorithms, the plausibility of images always conquered and seduced us. Even when we tacitly accept, in this game of seduction, that photography is also a vehicle that legitimizes deceit, manipulation, misunderstanding and illusion.

The images in the “Observation Notebooks” series are close to a representation that we recognize from the canons and scientific rigor but that we suspect do not belong to them. Ambivalent places, both subjective and objective, without scale, that we know to be unknown but are familiar to us and that we tend to imagine infinitely distant or microscopically close.

Between the hand and the technique, between the drift of the drawing and the rigor of the lens, the place of these images is especially the place of doubt and ambiguity. They do not intend to replace the concrete plane of things. They are an assumption, a simulacrum and, in that intermediate place, they reinforce one of the paradoxes that we have recognized in photography for a long time: the tool that faithfully documents and reproduces the reality is also the instrument that opens up the door to the possibility of mistrusting images.</sup>