To frame is to exclude (2026) is a series of works that explore the limits of representation and the exclusion inherent in the photographic act. Photography has ceased to be solely a medium of record: it is also a form of extraction, of imposing meanings, and of defining visual narratives. Every frame implies a decision about what to include and what to exclude, what remains inside and what stays outside, thus shaping a specific vision of the world. In this process, the represented subject and the photographer's agency are set against each other in a constant tension between the visible and the invisible, between what prevails and what is forgotten, between bias and affirmation.

The work draws from a reflection by Susan Sontag: "To photograph is to frame, and to frame is to exclude" (2010, p. 45). From this starting point, the installation questions the agency of the gaze—that which is left out of the narrative, the margins, and the edges of the image's center. The decision to re-frame breaks with the traditional centrality of photography as a sole testimony, shifting attention toward what lies in the margins or even off-camera: absence, the space in resistance, and the trace of exclusion. The proposal also shifts the reflection toward media, cultural, and political framing as a mechanism of oppression, evidencing how dominant narratives decide what is shown and what is silenced. In this sense, the installation is not limited to a formal questioning of the image, but rather points toward the apparatuses of power that organize the visible, relegating subjectivities, memories, and minority discourses to the periphery. By questioning the notion of center and periphery, the work interrupts this visual hierarchy and proposes a space where the unrepresented and that which is absent from the central focus take center stage.