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mongst the media acting as cohesive partners in delivering the message and adapting to context, Sastre works with elements drawn from nature— sometimes presented in their raw form, but often framed through photography, a medium central to his practice as both a tool of exploration and a catalyst for discovery.  “At the same time, I like to see how far I can push photography—how much I can alter it to take it somewhere different from the moment it was captured. Is it still recognisable? Does it reveal something new? Does it interest me? Marina Garcés notes that we live in an age of extremes, and that’s what I seek in some of my photographic projects: to reach all of its extremes. I often convert images into negatives, as if making them more analog—taking a step back, a step we lost with digital photography but one that speaks to process and history. In doing so, details emerge that remain unnoticed in the positive image.” 

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Words drift through his pieces like clues — sometimes blurred, sometimes hidden: his work resists instant readability, inviting viewers to engage with it beyond a quick glance. Rather than offering a direct message, the pieces introduce a degree of difficulty that encourages viewers to decipher both the text and the materials that shape it. The elements that blur, obscure, or camouflage meaning are not obstacles but integral components of the work itself, emphasising the value of slow interpretation and sustained attention. The intention is for each person to interpret the works in their own way, bringing them into their own world, concerns, history, and experiences. At the same time, this is also how the ideas behind them are conceived and expressed. Having endured years of bullying in childhood, he learned to avoid drawing attention in order to remain unnoticed and lessen the risk of further harm. This experience helps explain his inclination to camouflage himself, to integrate into spaces without being perceived as something out of place. 

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The site-specific artwork at the library represents a synthesis of Sastre’s work in all its elements: a projected shadow created by the sunlight entering the library, hence present only during early hours in the day. The work is composed of a phrase taken from Joan Alcover’s poem Resfa — ‘The earth strips itself; the trees are skeletons, bare of fruit and leaf’ (from the book Poemes bíblics, first published in 1918) — accompanied by a series of silhouettes of branches, pruning remnants from various trees and shrubs in the surrounding public parks.