The collages, objects of objects, and climatic pieces unveil that Pazos increasingly places more and pastes less. The artist resorts to a wide range of potentially evocative objects that invoke a lived period of time: memories of the long summers of his childhood, of his extended stay in Paris and other events in the artist’s life, which do not try to describe or explain a period or a moment of time, but which rather crave to invoke, while questioning any system of representation: the image no longer evokes a reality, beyond implacable subjectivity. In all his work one can perceive a certain nostalgia for the “time not lived”, a nostalgia which in turn implies loss and possession.