If Pfaff reveals unseen work to us, the case of Cañameras is extremely similar. His photography is generally born out of the notion of the portrait, and from there, from the construction of that image, it has developed across a range of perspectives on, and angles to, representation. In these images experimentation replaces the photographic shot, and framing takes shape directly through physical alteration itself (with bleach or lemon juice) carried out on the analogue lm and in the development process.

While Pfaff’s painting has been closely linked to reflection, to the very idea of painting, and his method has assiduously called for the intention of thinking painting, the photography of Cañameras and his thinking the gaze, has always come close to the idea of representation. We now nd ourselves faced with a new body of work which functions in a completely different manner. In this exhibition, the absence of idea and the absence of representation reveal the foreground of works whose technical and conceptual development is produced directly in their execution. There is no distance between action and reflection, between doing and thinking. Everything that occurs in Pfaff’s painting and in Cañameras’ photography has a place in the work itself. There is no escape. If in the paintings of Pfaff the composition has been diluted in favour of a series of vague shadows, nuanced colours and disjointed elements, which seem to have just met, generating a certain structural tension in a painting which does not lodge itself in the memory precluding its immediate recollection, in the photographs of Cañameras, process becomes image. There is no longer the eye of the photographer thinking about motif and subject, but direct action executed on the photographic shot. The subject proves indifferent. There is no meaning. A language still in process. The world of Pfaff and Cañameras escapes representation.