"...- Raśl Santana: But when you were working on the Costanera Series, in some conversations that we had, you talked about the desire to work on something conceptual. It was like a turning point; at some point you felt less precise with respect to the times that demand concepts even in art work. Is that correct?

-EP: It was very important for me to understand that art has different sources. Creativity is nourished with aspects that can come from Anthropology, or Philosophy, or Psychology, and not only from work based on creating things directly.

-RS: It started with the Costanera (Southern Riverside) series?

-EP: Yes. I started working with photo-transfer, then, and with images taken from graphics. And during a visit to the Ecological Reserve, the ecologist there gave me a manual on the Reserve's flora and fauna. I photocopied that, and incorporated it directly into my work. I built the landscape with elements of that kind. Besides, they came out with the text, and text was inverted. It was an attempt to indicate the use of an element that had to do with the idea and with the work, but that I used purposely to make it evident that the landscape was made by someone else. To complete the idea, I also began to be interested in the idea that one also works with other people“s views; I mean that the work, in this case the Ecological Reserve, was made by other people“s view. If I had to do the city, it was created with postcards, or with postcard photo-transfers, that is, with the viewpoint of someone who exhibits the city from the touristic perspective. The sky I made with a computer program which downloaded the constellations according to the day. I made a photo-transfer and put it into the work.

-RS: Oh, so you worked with the real constellation?

-EP: It“s a computer software. You type the year, 2000, 3000, 5000, the day and the time of day, and it provides the sky at that precise moment. It shows you where Virgo is, Mars, or other planets and stars. I downloaded that and included it in my work. The animals came from Botanical books, I photo-transferred all that and made a kind of collage, and that landscape was also someone else“s view.

-RS: According to what you describe, in your pieces on the Ecological Reserve, you aren't only showing the phenomenon, but several processes connected to that phenomenon.

-EP: On one hand, there was a critical vision. I always regarded my work on the Reserve as a synthesis of what we are as a society. That land fill was absurd, a delirium of the military government. The fact that in that place, at the Southern riverside, in that small world where I moved about because I happened to be teaching at the School of Fine Arts, you could see Lola Mora“s Fountain as a symbol of censorship. That fountain wound up there because of a censorship problem.

-RS: I can“t recall exactly when they started the Reserve. Do you remember?

-EP: In fact, it started with the demolition of 9 de Julio Avenue. All the rubble wound up there. I think it was during one of the military governments, and the Mayor was the same guy who had to do with the highway business. It began as a land fill, and resulted in a rubbish dump. What I was interested in pointing out, is that Nature slowly reconstructs itself; new species of birds appeared, vegetation and so on, and at one point some foxy guy comes up with the idea that it is an Ecological Reserve. But it really was originally a waste dump. And it was pathetic to see Luis Viale“s statue - who in a ship wreck saved a family with his life saver- among the trash, the old tires, throwing that life saver into the garbage. Those were very strong images, a true methaphor."