This selection of photographs originates from an exhibition proposal by the Can Sisteré Contemporary Art Centre, the museum of the city where I was born and raised. On this occasion, and thanks to the freedom afforded by the exhibition space, I sought to disengage and distance myself from the importance I had previously given to the materiality of photography and the printing process, focusing instead on the narrative and symbolic possibilities of the image. Influenced by the flamenco tradition, this is a collection of intimate images accompanied by my own texts, with a common thread that explores nature —love— and fatality —death—.
The exhibition was curated by Mateo Pérez and inaugurated on 11 December 2025.
Graphic design was by Jeric Acuña.
«This time, the challenge of shaping the exhibition was not resolved through a formal methodology, but a visceral one, made from the gut. It has been like grappling with a bull that is a mirror. Because if every photograph is a self-portrait, confronting them is like facing that bull: that black mass that charges and that, in the end, is nothing other than one’s own reflection.
The result of this looking back and inward is not a chronicle, but rather —so it seems to me— a kind of song: grave, solemn, slow and syncopated in rhythm, where each silence weighs as much as a note. To that beat moves our photographer, advancing slowly. He invites us to look with him at what appears to be a life marked by urgency, love, and death, but also by a stubborn tenderness that pushes its way through the shadows.
From the images unfolds a wounded and lucid universe where, as in the flamenco singing that obsesses Pablo, beauty is born from trembling, from tearing pain, from a truth that dares to show itself without a mask. But songs —even when they are harsh, painful, or fill our chests with freedom— always have a melody, a structure that allows us to move through them. In this exhibition, the rhythm of that melody is built on the alternation between Nature and Fate, Love and Death, the two pulses upon which that ancient genre beats. Thus, each photograph seems to contain an echo, a lament that is also a celebration: a wound that sings of the love that opened it, a love that is suffering and joy, loss and consolation.»
From the curatorial text
Mateo Pérez
Quejío Booklet (24 pages)