Managing a work of art to deed only itself is an old ideal of the modern arts: cut the ropes that bind it with natural reality and let itself prove its value, contained in its pure limits. Resuming this venerable pretention without incurring in the abstraction and, furthermore, doing it beyond the photographic media seems like an impossible task. However, Patrick Grijalvo has found the way to brace the autonomy of his images, weakening their bind with the real reference –without losing it- and vindicating their condition as objects. In his hands they turn into sculptures: pieces of a delicate and subtle volume, managed by a serene composition of levels. The result, far from being whimsical or redundant, instills a harmonious feeling of necessity. The artist doesn`t impose the images any other three-dimensional shape, to his will, but builds it from the own attributes of the photographic area. One of the quirks of photography is the focus, which forces to discriminate areas of variable definition and, therefore, to mark the diverse levels of depth. Focusing on one shot or another impacts the appearance of the image as a whole, so the shot is imposed on the photographer in a way ignored by the painter (for whom is just a compositional tool). Patrick Grijalvo starts from the calm study of those shots to isolate them by cutting and separating them from each other. Having respect for their basic components and introducing the void in the photographic image, he manages to build a real depth, non-illusionary. Little matters that this new space matches the natural reference it came from originally or not: it obeys its own rules and has its own needs. What the artist does is not now an exact replica of another thing (mimesis), but a presentation of a new object (poiesis) that needs no external approval. The title couldn’t be humbler and more accurate at the same time.