Cadmium is a mineral that gives certain colors intensity and saturation; the reds, magentas, oranges, and yellows that contain it are characterized by their extremely warm and saturated quality. These are the colors used in the light areas of the forms and, by contrast, give rise to shadows in equally intense cool tones: turquoises, emeralds, prusias, or purples… Cadmium Shadows thus announces two antithetical parts: “cadmium” implicitly refers to the paint itself, in the material used, while “shadow” suggests the reverse of what is clearly visible—that is, what is hidden because it is desired, intuited, or feared. The blinding light of cadmium necessarily produces shadows; both extremes compete on the same plane, denying each other and, in their struggle, freeing other spaces for thought. A confrontation of senses that reveals, at the very least, that there is no single formula, no better way of seeing, nor one superior to the others. In any case, it activates the need to desire, through doubt, and to observe, through painting, those veiled and indecipherable traces of the other that have vanished on the surface of the canvas.