In Click-Me (2014), through a series of photographs and paintings, the error ceases to be a flaw and becomes language, method, and aesthetic. The glitch, as digital fragmentation and distortion, acts as a transformative agent that reconfigures the image, deconstructs certainties, and reorients perceptions of the real and the virtual.

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The work explores the relationship between digital manipulation and image construction, using acidic colors and overlays to generate new visual narratives, where imperfection not only marks presence but becomes the central element of admiration.

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Where does the true image begin and end?

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The duality between control and error is tensioned by the instability of technology itself: the digital, which promises precision and perfection, reveals itself as fallible, organic, and mutable. Click-Me proposes a reflection on what is real in a universe where every image can be manipulated, corrupted, or recreated.

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Here, the error is not a deviation but a new possibility—a fertile ground for the unexpected, where the flaw reveals new forms, textures, and senses, expanding the limits of visual experience.