Some twenty years ago, artists María Bleda and José María Rosa first earned public recognition for a very simple and evocative series of photographs titled “Campos de fútbol” (Soccer Fields), 1992. For all the images in this series, the pair used a similar compositional strategy to show empty spaces rich in associations. Their practice has remained fundamentally the same ever since: serial works, images of spaces seen from a distance, a certain neutrality, a primary focus on landscape. Drawing inspiration from the Bechers, Bleda and Rosa focus on the evocative power of any place that has a unique