The enigmatic works of Paco Díaz reflect the influence that cinema has had, architecture in its production. Both its urban landscapes, and the still lifes that it composes, share an aesthetic of iridescent colours, cold and clean; these convey feelings of melancholy and frustration while playing with irony and pop aesthetics to immerse ourselves in a surreal imaginary. Through meticulous postproduction, Paco Díaz manages - with a murky elegance - to make us reflect on our desire to transcend in this life using an imaginary pop and ironic. Intense production that takes photography as a base technique and that uses unmatched postproduction to create a whole discourse around it. In his series 'Migrations' we find houses that rise, that ascend to an upper stratum and that in their basic configuration of four walls, covered with two waters and ground, have been stripped of the superfluous to reach the essential. And below, the city as a cemetery, as a place where strata accumulate, offal. A site of undoubted appeal with an expiration date. Floating houses, which can be understood as containers that move in search of a place of reception and thus be part of the postcard reproduced to satiety. Constructions that go from one city to another where the goal, the real, is located below, while above we have a transit zone, a kind of purgatory.