The artist has been using photography since the early 1970s with the aim of finding other options to the dominant color in his painting: to open an investigation that neutralizes his violent use of complementary colors.This experimental photographic practice allows him to investigate the construction, reconstruction and destruction of the image. Transformation techniques such as photography, but also printing, photocopying and collage recycling themselves and working in a spiral. Through these techniques Gordillo adopts modes of optical and constructivist art such as serialization, repetition, variants and differences between the almost identical that allow him to unfold, simultaneize and obsessively copy the same image.Working with the negative and positive of the image, superimposed or sometimes slightly displaced, and also decomposed into the four colors of four-color printing, Gordillo converts the resulting images into "schizoid," a singular style steeped in ironic melancholy partly influenced by his long psychoanalytic practice.Gordillo, in his collector's zeal, accumulates both banal objects from popular culture and images from the press, making a broad radiography of reality; from all of this psychedelic images emerge, sometimes close to pop.The photographic processes carried out basically in the 1970s illuminate a way of understanding the creative process of Luis Gordillo, sometimes stranded between chance and automatism, but always disturbing where some of the artist's obsessions emerge: the encounter with absurd objects, the incoherent and endless accumulation of items he has been collecting for years. Decontextualized things and laden with plastic significance that he uses as visual material that result in psychedelic images sometimes close to pop, laden with a preset and manic humor. And this so libertarian way of making photography leads us to propose this series of works transcribed from psychoanalysis to make up the exhibition of Luis Gordillo.