Insomnia is an experimental project by Thiago Dezan and Infinite that connects documentary photography and visual arts to tell the story of a wretched world.
 Through a critical and political lens, they examine particular aspects of our society; a society that too often does not understand how culture is above all,
 an institution that justifies (to the eye of the individual) oppression and repression.

Have you ever had that gut feeling saying what you see is not true, and what you can’t see is the real thing? Almost as if you could touch what is not there,
as if your eyes were playing you. You can picture, imagine, but it is all an invention, because the material world says otherwise.
Your eyes are not betraying you, but maybe your brain can guess what the reality is not showing. 
This work is about that, to portray what is missing but you can feel. Is about wonder. Is guessing the invisible truth.

As invisible as love, as untouchable as rage.

 Acrylic painting on printed photos, 17”x22” each. ONGOING.

This work is very real, documentary in a sense, but is also a documentation of the gut feeling, of the brain working to make sense of everything.
It’s about what you never see and keep you awake at night. It’s is not about daydream, but about insomnia.


NEVER ENDING HATE (2023), Video installation, 1 or 9 channels, 7’02’’, 16:9.


BEAUTIFUL BURNING PRISONS (2022), Video installation, 3 channels, 6’26’’, 16:9. 

BBP is a three-channel video installation.
The work starts with three videos shot inside three maximum security cel- ls of the Salvadoran prisons Azacatenoluca and La Bertolina.
The original videos are shot to monitor the conditions of inmates inside detention facilities.
 The camera is entrusted to one of the inhabitan- ts of the cell, who spontaneously moves within the space, restoring its brutality through the spontaneity of his own eyes.
Once we acquired the original videos, we decided to work on them, trying to eliminate any form of possible voyeurism and documentary aspect typi- cal of documentaries dedicated to this type of environment.
The images altered in their temporality are slowed down, as well as the audio. The visual aspect is transfigured, and scenes from negative to black and white alternate.
The three video channels communicate with each other at regular intervals. The images and sounds alternate and, through a slide, pass from one channel to another,
making the focus on work dif- ficult and disorienting.
 The audio is extremely disturbing and sometimes seems like a Tibetan prayer noise: the sum of a continuous whisper and whisper accompanied by a longing for damnation.
The work reflects on the repetitiveness and brutality of the concept of prison in the contemporary world.
In our opinion, an institution with no functions other than mere condem- nation.