We know that maps are not very objective constructions that promise an illusory sensation of domestication of space or the fiction of an impossible order that usually responds to a strategy of domination and control by power, since the world, beyond Borges’ story, cannot be reduced to a single supposedly universal image. Marco Pires’ landscapes emerge from different topographical plans from the Portuguese Army Geographical Institute, ratifying this idea. The cartographic conventions enter into a dialectic pulse with the abstract forms traced with graphite dust, deposited in multiple layers as in the natural processes of sedimentation, destabilizing their supposed two-dimensionality, given that the drawing represents another form of knowledge where subjective perception of the territory and the interior space is as meaningful as the exterior, regardless of any scientific pretension, correspondence or resemblance.
Marco Pires configures a landscape that contains traces of the real over a fictional one, insisting on its constructed nature as opposed to the pretended – and false – verisimilitude of the map. The presentation is then superimposed on the representation, providing us with an interesting reflection on the distance that separates reality from the images that pretend to embody its reflection and underlining, in short, the independence of artistic language.