This work reflects on our affective bond with water through photographs of the Chingaza páramo, the territory from which 70% of the water that reaches Bogotá originates. From this landscape, it explores the city's disconnection from the water systems that sustain it, and their memories. At the heart of the work lies a fundamental question: how can we create without extracting or polluting?

The answer takes material form in an experimental process in which spirulina acts not only as a natural pigment to create the image, but also speculates on futures in which microalgae could help clean the city's rainwater for reuse.

The anthotype, a technique that fades over time, becomes a metaphor for our water landscapes: what we believe to be permanent reveals itself as fragile and vulnerable in the face of the Anthropocene. This materiality allows the unforeseen to emerge as artistic language, where each process holds its own agency and its own rhythms of creation and transformation. In this sense, the work is at once practice and question: how do we inhabit water from a place of care? From there, poetry and image intertwine: as the photographs fade, the verses name what escapes collective memory.

By sensitizing the gaze and the material gesture, Land of Waters rehearses relationships of reciprocity with the territory and with other beings, inviting us to create without polluting and to reimagine our lives through practices of care, memory, and shared responsibility. The water cycle becomes a circle of affect. The images of the páramo return to the city that its water sustains, now transformed by processes that honor that origin. It is a poetic gesture that embraces territorial interdependence as a fundamental condition for common wellbeing — human and more than human.