pepe cañabate

During my night walks with Tula, I notice the yellow garbage bags that, under artificial light, reveal traces of a consumption that still defines our society. I stop in front of them as if they were strange compositions — fragments of what was once useful and now waits to disappear. Yellow comes from that gaze: a fascination with what we throw away, with the matter that carries our mark. Transparent and ordinary, plastic turns into a pictorial surface — a veil that transforms waste into image.

In Obsidian Leaves, the fragile surface of nature turns into mineral matter. The leaves, stripped of color, become dense, almost geological presences—echoes of time and decay. The photographic gaze penetrates the organic to reveal the sculptural, transforming light and shadow into matter, as if each leaf were carved from obsidian.

Wrong is a visual exploration of the banal and the inappropriate turned into aesthetic matter. Found objects, discordant scenes, and everyday gestures appear out of place, stripped of their original function to challenge notions of good taste, value, and relevance. The series looks with irony and clarity at what is usually discarded or overlooked, revealing its potential as both image and cultural sign.

My TITAN SERIES is a series that began in 2013. The digital revolution had diminished my interest in photography and I needed to re ignite my interest in the art I had learned with analogue cameras and darkroom printing. I needed to enjoy photography again. The pin hole camera presented a way to do this. A difficult system to manage, often resulting in failure, always requiring time, planning and patience before seeing the finished result. It provided a new discipline and gave me the inspiration I was looking for.

TRASTUS — What No Longer Matters is a photographic drift through the invisible geography of what we discard. Domestic objects —chairs, appliances, toys, furniture— exiled from their original use appear isolated in the urban night, turned into accidental sculptures. Shot in darkness with deliberately harsh contrast and grain, these anonymous remains acquire a presence loaded with memory and quiet melancholy. The series offers a critical yet poetic reflection on consumption, abandonment, and the strange beauty that arises when things cease to be useful and are left exposed to the night.