Fake News is a multimedia installation that examines the power of disinformation and the fear it generates in contemporary society. The series comprises six medium-scale sculptures and three large-format paintings arranged to create an immersive experience: the paintings, distributed along the walls, serve as fragmented visual narratives, while five sculptures rise on plinths, meeting the viewer at eye level. The final sculpture, suspended from the ceiling and bearing against the wall, disturbs the space, suggesting instability, collapse and the precarious equilibrium between truth and fiction.

Through distortion, superimposition and the manipulation of materials, Fake News reflects the overwhelming and chaotic nature of modern media. The tension between sculpture and painting mirrors the contradictory narratives we consume daily. Shadows and reflections play a crucial role in the experience, distorting perception and reinforcing the sense of uncertainty that disinformation generates.

Drawing is not only the foundation of visual expression but also a powerful instrument for understanding and communicating complex ideas. Many of these works began as sketches: raw, immediate translations of thought into form. The act of drawing, whether in preparatory stages or as a conceptual framework, plays a decisive role in shaping the final sculptural and pictorial compositions. This process evokes the idea that, in a world clouded by disinformation, the acts of seeing, tracing and defining become an act of recovering clarity.

The work invites the public to question its assumptions, examining the ways in which fear is manufactured, disseminated and internalised. In a world where falsehoods shape realities, Fake News asks: What happens when truth itself becomes subjective?

This series is not merely an observation of disinformation; it is a sensory passage that places the viewer in a position of doubt and questioning. The physicality of these works, the contrasts of texture and material, and the deliberate distortions of perception invite active participation. In navigating these contradictions, viewers become participants in the very mechanisms of uncertainty that the work seeks to expose. The aim is not only to represent fear, but to make it tangible.

Throughout history, artists have confronted the fears that define their time. This exhibition continues that tradition, exposing how disinformation, digital surveillance and political instability shape our perception of reality. These works do not merely represent fear; they dissect it and expose it, compelling us to rethink the narratives that structure our perception of reality. In a world where truth becomes ever more elusive, art becomes not only a reflection but an act of resistance.