The pulse of Florencia Böhtlingk’s art beats to the pace of what she sees and experiences as she registers an arc that encompasses landscape, daily life, and activism. Somewhere between what surprises her, what moves her, and what simply keeps her company, on the one hand, and the surface of the paper or the canvas, on the other, she inquires into the forms and colors at play in experience. The challenges posed by technique are in plain sight, reminding us that painting is both a physical and a mental process. Böhtlingk is always drawing and sketching; not for an instant does her work lose the vibration of the immediate. The abundance of images in her practice feeds a profuse body of work that is always coherent even as it tackles an array of themes. Her art’s contemporariness is enacted in recognition of multiple pictorial traditions: painting from the Amazon, Torres-García’s constructivism, and the social muralism of the sixties. Böhtlingk’s earlier work was tied to the local surrealist movement. The numerous watercolors and oil paintings that came later take on the entire ecosystems of the La Plata and Amazon rivers; they form part of the landscape tradition that, in Argentina, stood in opposition to academic and modern approaches to the representation of setting. Böhtlingk’s painting attests to the wild beauty of the jungle and the river region as well we the persistence of extractivist colonial structures and the layers of culture, ethnicity, and religion in the border zone. Her audiovisual production also engages the marks the human leaves on nature. Her most recent series of paintings introduces speech as well. More specifcally, the artist paints the words surrounding her to construct and evidence the sound and semantic landscapes of the brush of Misiones province and the streets of the city in the throes of social movements.