Next to the storefront sign of Shmorévaz’s space in Paris stands a stone lion. The animal holds between its teeth a vegetal garland that forms two circles, one above the other. This strange bite, both delicate and piercing, accompanies, on this occasion, the works of the artists Rafael Sánchez and Sara Mackillop.

A collection of pink disposable razors is kept inside a honey jar. They were used by Sánchez between 1995 and 2005 while preparing his performative and spiritual quest as Dolores, the artist’s performance persona that blossomed in Paris in the early 1990s. Pink Jar forms a contained scenario of everyday wonder and transformation, in which removal becomes a means of sustenance. Similarly, the black-and-white photograph Snow Drawing (1982) documents another frozen scenario set by the artist: surrounded by snow, three cardboard pieces mobilise a minimal theatricality that opens onto a vast, shifting natural space. This photograph is also a visual testimony of how Sánchez has…