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We are welcomed by a Gothic window frame suggested upon methacrylate that rests on parafine, which is materialized through A4-size transfers of the four toner pigments, revealing something that would initially seem obvious: printing is used as a way of turning the image into something physical, the toner as a pigment is at the service of painting. However, these new "paintings" act in turn as symbolic containers of the original purpose of the aforementioned gothic windows: the representation of religious imagery in stained glass.

Wallsource: A sort of 'scientific or mechanical Wall of Lamentation' with the word 'confessions' inscribed in it in source code. Printed pages with adolescent confessions and links that lead us to them drop from a slot in the wall. This random provider of personal matters works in the opposite way to the original Wall: it is not about the secret between the wall and those who write their confessions any more, it is about the disclosure of said secrets directly from the wall itself.

To complement the exhibition, there is a series of drawings that are still part of Wallsource, in which traced source inscriptions covered with plastic folders and cartridge paper are revealed with sandpaper. The physical treatment of the paper, sanding it down in a manner reminiscent of drawing, represents that desire to reveal the core of the visible surface that is so characteristic of its job: in a similar way to the opening of the original source codes in internet browsers, eliminating the outermost layers gives us access to the original structure of the content.