This project is the result of a deep investigation into the practice of drawing and how it has a close and sincere relationship with the human being. Focusing on the skin as the central axis of this research, I build a large format image (5.50 x 1.50 M), which refers to a map of a complex archipelago. In order to evoke the skin and body as a Geographic and political “territory”, which became an argument of appropriation and identity. This archipelago is built from the union of a countless number of skin pieces from different people. These fractions are drawn with the highest detail, some of those with their natural scale, others have been magnified or diminished.

Approaching the drawing from a broader perspective, in which it is not limited to a plastic and artistic practice; I see to myself exhorted to find what new values and under what places and circumstances, the drawing can be possible. ‘Atopic dermatitis’ is one of the results of these cavitation’s on drawing. Inquiring about the relationship of this with the body, I have realized that on the skin that suffers this condition, the wounds, scratches, scars, even the hair that grew on this skin, formed a drawing in themselves. Then, focusing on this disease, the drawing has become as a taxonomic operation, in which every crack, dryness and hair became into a line or a spot of a very unusual pattern. However, beyond seeing a drawing on the skin, this project was crucial to find another relationship that, perhaps directly or indirectly, can have the drawing with the skin.

This project was developed during the participation in the third version of the Laboratory Cano {On State of Ruin} at the Museum of Art of the National University of Colombia, in 2015. Born from experiences living with the local stray dogs at ’El Tunal’ Bogotá – CO, which made me understand that the ruin does not only refers to the spoils of a space and a specific time but also the constant suffering that these creatures live day by day that touched me so deeply. ‘Inhabitants of ruin’ is a bidimensional proposal of one hundred and eighty (180) pieces that take up the principles of photography, which are intertwined with the drawing to create a new type of image. I start from the photographic image for the elaboration of a wide archive of images of these dogs; however, photography enters into a process of (re) assessment, which allows it to be thought and understood as a drawing language.