On the morning of 30 October, the air was thick with the smell of damp, earth, and petrol. In the background, we could hear people trying to make their way through the more than half a metre of mud covering our street. Helicopters circled above our houses, while a sense of helplessness spread through the neighbourhood. The lower part of our house, the studio, still held around ten centimetres of stagnant water, which slowly settled, leaving behind a layer of sludge that would take us months to remove completely. The drawers of the furniture had become small rafts coated in petrol and oil; papers had dissolved into shapeless masses, and the paint on the canvases had taken on a reddish-brown stain. A small tree, carried there by the water, stood silently and unmoved, bearing witness: this happened. That tree, and the bed of mud in which it lay, became the starting point for three artistic projects connected to photography and artist’s publications. The first takes the form of a photographic series shot on 35mm film over the six months following the floods that struck the province of Valencia on 29 October 2024. The book reaffirms what Sontag (1973/2011) wrote: “photographs do not simply evidence what is there, but what an individual sees; they are not merely a record, but an evaluation of the world” (p.92).