In the series Pinhole, Silvina Batista works with a lensless camera, where the image is formed solely through the passage of light via a minimal aperture. This removal of the traditional optical device is not technical but conceptual: it implies a renunciation of precision in order to approach a more primitive experience of vision.

The images, shaped by extended exposure times, dissolve the contours of the body and suspend its identity in an unstable state. The visible ceases to function as a record and becomes instead an apparition.

Through this shift, photography returns to its origin—the camera obscura—while simultaneously moving toward an inner form of perception, where the image no longer describes the world but evokes it.