The works in this series examine different man-made interventions on Earth and their scales. These pieces were carried out from an immersion by Moscheta in the Atacama Desert, where the artist encountered tracks made by ancestral peoples. They are drawings that the artist see in the construction of these paths or in the manipulation of stone forms or in the construction of Apachetas – small piles of stones organized in a conical form as offerings made by the indigenous peoples of the Andes to Pachamama or to other entities.

The series ‘A Line in the Arctic’ was developed at the residencie ‘The High Arctic’, in Spitsbergen, Norway. A colored line made with adhesive tape was made on the frozen ground, trying to follow the exact parallel and meridian lines towards north, south, east and west. As the GPS signal is inefficient at such high altitudes, bringing up doubts about the precision of the action, the work ponders men?s failed attempts to measure and grid the world in certain parameters based on drawing strategies, which most of times seems displaced from the real characteristics of the landscape, as men tries to frame the natural world.

In the series ‘Fixos e Fluxos’ [Fixed and Flow], sets of schematically composed aluminum sheets shows satellite photos of the Atacama Desert. To each quadrant, Moscheta has attached a small copper plaque with the geographic coordinates of that space, registered by him during his journey through the region in 2012.
Moscheta’s journey through the Atacama territory becomes distanced through the view of the satellite image, stripping away the journey’s vastness and natural elements. In Moscheta’s words, “My method for constructing this work resembles that of the ancient cartographers, where the experience of the traveler came previous to the representation of the territory.
The map was only produced after the cartographer visited the place to be mapped, so the cartographer’s experience became part of the representation. In this work, the satellite’s mechanical eye finds the area I visited through coordinates. My geographical movement determined the choice of the image – a landscape never seen before by me, though there were the marks of my boots on the ground.”