In 1998 I decided to show my entire photographic archive; the one that was build with all of the photos I had taken to make my works between 1992 and 1996. This way, for example, for the production of the Para hacer en casa (To do at home) series (1992) I made forty two self-portraits in which I was posing in different places of my house, finally selecting eighteen for my first solo show at the Northamerican Chilean Institute of Culture; or, in the case of Pequeños Viajes (Small trips) (1994) I took forty six photographies, from which I selected five to produce the work that would travel to Holland, to my first show abroad.
In addition to this two projects, in 203 photographs I exhibited the archives of Untitled (fracture) (1992), Matto Grosso (1994), To live as we dream (1995), Human Resources: Lovable, Magnetic Field (scars), (both made in 1996) and Human Resources: Abysses (1997).
I had decided to show everything, not only the technically correct and, for that, I installed 203 photographs on the walls of the old Posada del Corregidor’s second floor, a relevant national contemporary art space for several years. Deployed as territories’ maps of different colors and textures, I understood this first retrospective exercise as a leap of faith —accompanied by the natural vertigo it implies—, an emptiness exercise meant to make room for new projects, new ideas and, above all, for new challenges.