Throughout their documentations, the photographers have a special approach to revealing personal narratives, most striking in a series of diptychs, sometimes pairing black-and-white and colour photographs. “We were surprised to be selected, because the style isn’t traditional, it’s rarely seen in the genre.” In Miruku, they continue on this unorthodox method, sharing the impacts of the climate crisis (and subsequent water shortage) on the Wayuu, the indigenous population from La Guajira. This time, there is a deliberate pairing of community portraits and close-up shots of the land, accentuating the connection between Wayuu people and the coastal desert; South Americans and land; and people and natural resources.

And, although they coincided ideologically, Marisol says that their practices “couldn’t have been more different”. First starting their collaboration through video calls, they began constructing their figurative and abstract approach, to achieve a certain balance. “The good thing was that, before going to Colombia, we were able to spend a couple months together in Argentina […] We found that we both enhanced each other’s skills, when we put our heads together, we found our styles interacted in this exciting way,” Marisol adds. Federico typically shoots black-and-white still-life images, which explains his gravitating more towards still or non-sentient scenes. A pensive portrait of a woman against a corroding background; a drying stream of water surrounded by drying leaves and land; and a dog sleeping in the sand almost too peacefully. But, Marisol rather focuses on commanding scenes in her work – all in colour – bringing interaction and cultural expression to the fore. But, throughout the series, their styles begin to intertwine, making it difficult to tell who took what.