Perhaps the rare —the anomaly—, by deferring its appearance, stirs up desire; whether it is imperceptible to the capacities of those who wanted to apprehend it, or hidden under the surface of the usual, the desire for the self remains —with this concealment— stable. But the exception can be revealed, perhaps, in the obsessive hobby of contemplating the evolution of things: and captured instantly, before its strangeness dissipates; however, sometimes, the wait is tense, and can push to induce such unusual expressions of nature.

Puente captures metropolitan landscapes —these are Catalan panoramas— and multiplies the scenes by aligning them contiguously and in parallel bands, like terrariums. This disposition seems to want to emphasize and dramatize the multitude of supercolonies, whose individuals that compose it see in such an exercise their identity extinguished and anonymity accentuated, for the sake of a communication of a complex order in which they participate, constituting, in turn, an organicity with recognizable boundaries: it is no longer a question, then, of identities that disintegrate in the midst of the crowd, but of a single community body, not without, however, a sinister component. Delimited in the peepholes that the observer agent has in his montage, the scenes dramatize the photographic sense of the capture, and connote a certain urgency of the observer; and, on occasions, they are energized as a landscape and ethnographic photonovel.