HD video overhead projection, 15’, colour, stereo. UV photographic print over transparent plexiglass, LED light, headphone, LCD monitor The journey is a process inherent to my work method. Change as need for detachment, as a letting go from universal truths, which characterise my upbringing, in order to find myself, not as much as to understand, but to accept that there are unlimited kinds of knowledge. As a result, “El paisaje está vacío y el vacío es paisaje” arises from one of those journeys for other ways to understand the world. The worldview expressed in the Andean philosophy is drawn out directly from the Atacama Desert experience and from the phenomena and transformations taking place there, in which natural phenomena are deeply connected with mythical phenomena and to social life. A reality, according Korean poet Dalchin Kim quote which is this installation's title, where there is no discriminatory recognition or incompatibility between antagonistic view since things do not have the value of reflection. Everything is interconnected and everything's reciprocal . Unlike monad, separated existence, ens inquantum ens (a being as a being), on which western metaphysics is based. Under the guiding principle of interconnection and coexistence, the central piece disseminates and disaggregates, submerging the viewer in a four-dimensional space in which certain meaningful layers – which are hidden in the film – come together outside the screen. We observe what is hidden and distant and, at the same time, what's near us; Pachamama, a polysemic word which in quechua language refers to the whole comprising the cosmos and nature. Furthermore, philosophically Pacha significa "universe divided in spatial and temporal categories”, but not only physical and astronomical .Hence, we come closer to these different realities through audio pieces whose voices, in Quechua, Sanskrit and English, accompany the still images. These voices representing three different systems of knowledge and symbolising three layers of reality connected to one another, in which Pacha is divided [hanaq pacha, kay pacha and uray pacha], question language not only as a mechanism for expressing ideas, but also for metaphysical connections. The installation reenacts a kind of “astral laboratory” where there's no law of gravity here, only the law of levitation. The decrypting of reality emerges from the merging of experience and intellectualization, therefore challenging the hegemonic speech about production and reception of western knowledge.