I have been to the Antarctic twice. I was initially drawn to this unusual landscape in 2008 as a tourist. The initial visit sparked my curiosity, and I began studying maps of this continent produced in the 16th and 17th centuries – a time in which ‘traveling’ was a real imaginative movement full of mystery. Thus, I made a second voyage. We live in a world where everything is marked by our collective presence; human signs are everywhere. In Antarctica, you can experience landscape as an absolute other land: strange climate, colours, light, smells, air, sound, and sight. What is perceived as different in landscape, forces our models of vision and this is directly connected with artistic research – which also seeks to force boundaries in search of new visions. My Antarctic experience, led to my shift from digital to film camera. The horizon was so huge, and every aspect of the visible was so intense in spectre, that only film could reach such a multitude of tones. Thanks to the Antarctic, I became aware that the medium is not just a technical question, but also an artistic one. The medium we use is the way we see.