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In her latests series, Marina Arias investigates subtle vibrations as a structural condition of tectonic matter, drawing conceptual grounding from the high-altitude plateau of the Puna de Atacama. The works consider tensions and moments of rest as continuous events within the landscape, where a nearly imperceptible subterranean pulse traverses the terrain even when it appears austere, stable, or still. Within this framework, the line functions as a system of registration rather than representation, translating variations of pressure, friction, and displacement. Through this gesture, Arias establishes a correspondence between corporeality and territory, allowing the pictorial mark to traverse and measure the landscape as much as depict it. Across the series, both geological and painterly surfaces emerge through processes of accumulation, layering, and erosion. Time operates as an active material, generating strata, densities, and zones of friction that destabilize the boundary between the ethereal and the dense. Rather than offering a descriptive narrative of place, the works activate internal structures—rhythm, density, flow, and pause—positioning the practice at an operative threshold between control and drift, structure and contingency. In doing so, Arias constructs a sensitive terrain in which geological forces are translated into a material and perceptual experience.