The series Infiltration investigates how subtle influences permeate our choices. To infiltrate is a gradual, almost imperceptible movement that often operates in the shadows until it becomes significant. Infiltrations can occur in pipes and cracks, but also between the lines of a text, in the open veins of a family, a country, or a continent — always with internal complicity.

The word “infiltration” was the starting point for this investigation. I researched terms and expressions analogous to it, uncovering multiple poetic meanings that served as the foundation for the visual and conceptual construction of the series. During the creative process, I selected images from cinema — posters, stills, and frames — modifying and recontextualizing them into fictional and visual narratives. To create the series of paintings and the short story in Infiltration , I wrote a fictitious newspaper article about a building threatened by structural infiltration. This newspaper appears under the table in one of the paintings in the series, reinforcing the dialogue between literary and pictorial languages.

The series Infiltration establishes a meta-linguistic game by being a series infiltrated by another. This displacement of characters and concepts between different series, a common procedure in literature and cinema, finds its experimentation in painting in this series, creating unity in my work. Elements from the paintings and stories of Wrong History and Big Clash appear subtly, almost like a whispered commentary in the background.

In both painting and text, Infiltration combines realistic and fantastical elements to explore the meanings of the key concept . This process allowed me to introduce philosophical and geopolitical questions, which are still rarely addressed in contemporary visual arts. The central theme of the series is the external influence on the internal dilemmas of a society and the complexity of global forces that shape national and local realities, aspects that often remain invisible in society — much like infiltration itself.

Infiltration, in its many forms, is an urgent theme in the 21st century, as it permeates much of the human contradictions of our time, precisely those that push us toward the catastrophe of incomprehensibility. These contradictions — often invisible yet deeply impactful — echo the very nature of infiltration, which operates in the shadows until it manifests irreversibly. Will the world expire with a sigh, as in T.S. Eliot’s verses about the Hollow Men? 

The Art of Infiltration