This urge to preserve the image prompted the project The Matrix and the Interval, a look towards the history of the photographic practice and the medium specificities.
We see in these images what we suspect to be photographs and postcards, mounted with pushpins and nails on improvised structures, all set to be photographed again.
We see in these images the act of taking a picture, freed from the constraints of the referent but obsessed with itself and with the possibility of its repetition.
Cabanas reclaims and continues the act of reproducing the photography, using as a starting point the digitized glass plates from the archive. Remaining in the new images, the improvised backgrounds in real size – pieces of wood, furniture, newspaper sheets or cloth – that the original photographer would, perhaps, discard from his compositions.