Sara Francola

This work reconstructs fragments of the author’s past relationship, pieced together from its remains. The set presented is a copy of a copy of a space. Inspired by Val del Omar’s vision of cinema, the work parallels blinking and the gaps between film frames. Just as the camera assembles reality from isolated images - never fully capturing events as they unfold - the characters blink out of sync, disrupting the illusion of a shared gaze. As the characters process their emotions through an imaginative performance, a past dialogue of text messages is reenacted, transforming a private conversation into a public reflection. The work explores the memory between two people as a constructed and contested space, highlighting the difficulty of mutual understanding when we can only grasp fragments of each other’s worlds. In re-staging interpersonal dynamics through the mechanics of the camera, the author suggests that creation is never neutral, as it is shaped by what is interpreted, altered and lost. At the heart of this work lies a question: who controls the narrative of a shared memory?

This work reconstructs fragments of the author’s past relationship, pieced together from its remains. The set presented is a copy of a copy of a space. Inspired by Val del Omar’s vision of cinema, the work parallels blinking and the gaps between film frames. Just as the camera assembles reality from isolated images - never fully capturing events as they unfold - the characters blink out of sync, disrupting the illusion of a shared gaze. As the characters process their emotions through an imaginative performance, a past dialogue of text messages is reenacted, transforming a private conversation into a public reflection. The work explores the memory between two people as a constructed and contested space, highlighting the difficulty of mutual understanding when we can only grasp fragments of each other’s worlds. In re-staging interpersonal dynamics through the mechanics of the camera, the author suggests that creation is never neutral, as it is shaped by what is interpreted, altered and lost. At the heart of this work lies a question: who controls the narrative of a shared memory?

Pamphlet design: Stefano Cattani

Every relationship is shaped as much by silence as by speech. Dodge the Bullet collaboratively explores this fragile balance, tracing the shifting bond between two individuals as friends, lovers, and artists. Darts move in and out in different directions, representing an unspoken exchange where absence and hesitation construct intimacy as much as presence. In collaboration with Paula Punkstina

Every relationship is shaped as much by silence as by speech. Dodge the Bullet collaboratively explores this fragile balance, tracing the shifting bond between two individuals as friends, lovers, and artists. Darts move in and out in different directions, representing an unspoken exchange where absence and hesitation construct intimacy as much as presence. In collaboration with Paula Punkstina

Love lettering experiments with Paula Punkstina

In “Delete, Delete, Delete,” photography becomes a transformative and therapeutic process. Through repeated empty frames, self-portraits, and moments of intimacy stripped of their original meaning, the work reflects the internal workings of my psyche, creating a continuous loop of action. Beyond the photographs, a site-specific installation features paper prints gradually eroded by falling water droplets, illustrating the impact of seemingly futile yet persistent actions. This slow deterioration mirrors the transformation of something once solid.

In “Delete, Delete, Delete,” photography becomes a transformative and therapeutic process. Through repeated empty frames, self-portraits, and moments of intimacy stripped of their original meaning, the work reflects the internal workings of my psyche, creating a continuous loop of action. Beyond the photographs, a site-specific installation features paper prints gradually eroded by falling water droplets, illustrating the impact of seemingly futile yet persistent actions. This slow deterioration mirrors the transformation of something once solid.

In response to the lack of concert venues in Bilbao for emerging bands, a group of young people rented an old industrial building to create a DIY rehearsal and concert space. This project document the first event held in the space El Nido de Pájaro Peligro and captures the spirit of Bilbao youth, reflecting that particular moment in time. The fanzine is the result of a collaboration between Sara Francola, Miguel Sampedro, and all the participants of the events. A piggy bank was left in the space to collect notes from the participants.

In response to the lack of concert venues in Bilbao for emerging bands, a group of young people rented an old industrial building to create a DIY rehearsal and concert space. This project document the first event held in the space El Nido de Pájaro Peligro and captures the spirit of Bilbao youth, reflecting that particular moment in time. The fanzine is the result of a collaboration between Sara Francola, Miguel Sampedro, and all the participants of the events. A piggy bank was left in the space to collect notes from the participants.

This work reconstructs fragments of the author’s past relationship, pieced together from its remains. The set presented is a copy of a copy of a space. Inspired by Val del Omar’s vision of cinema, the work parallels blinking and the gaps between film frames. Just as the camera assembles reality from isolated images - never fully capturing events as they unfold - the characters blink out of sync, disrupting the illusion of a shared gaze. As the characters process their emotions through an imaginative performance, a past dialogue of text messages is reenacted, transforming a private conversation into a public reflection. The work explores the memory between two people as a constructed and contested space, highlighting the difficulty of mutual understanding when we can only grasp fragments of each other’s worlds. In re-staging interpersonal dynamics through the mechanics of the camera, the author suggests that creation is never neutral, as it is shaped by what is interpreted, altered and lost. At the heart of this work lies a question: who controls the narrative of a shared memory?