One day a friend referred to this project in a conversation as "the one with the sardine can with Massó stuff inside" and what she, who said it without thinking, thought it was a rather poor way to refer to it, the I thought it was wonderful. Well, in essence, that was what I wanted to do; preserve certain aspects of the history of the architectural complex of Massó, located in Cangas do Morrazo. Abandoned buildings have always piqued my curiosity, making me wonder at what point they ceased to be used and why, who are the owners or responsible for their abandonment, how they could be recovered, etc... And it was no different after visit the Massó cannery for the first time. In this case, after researching the subject, it was precisely the story after the cessation of its use and abandonment that I was interested in telling. Especially the history of social struggle that I discovered there, deserving of all my respect and admiration.

Through the illustration, I wanted to tell about the past of the building, about its condition, and about the fight that the neighborhood waged against the real estate speculation that, since it fell into disuse, threatened the future of this complex and the town of Cangas in general . The illustrations I made mix things as we can see them today with others that take as a reference information and old photographs to represent how the buildings could be found now if they were not abandoned, or even if they had been rehabilitated. I focused on representing elements such as roofs, doors or windows, which can be decisive in the conservation of a building. Also some of the phrases that remind the neighborhood protest and are still present in the complex in the form of graffiti. In addition, I wanted to depict how the life that the neighborhood gives to the place contrasts with the ruin, including some key scenes.

What I did was a sort of fanzine or experimental self-publishing project entirely of illustration. I mainly combined line drawing with parts that I wanted to highlight through color, with more detail, for which I used acrylics. The order of the illustrations I have selected corresponds to the different stops that can actually be made on a circular walk through the complex.

For the first printed prototypes of this project I used cardstock, canson sketch paper and vegetable paper. The fanzine goes inside a kind of cover that is printed, by means of a seal, in a coserva tin. Inside, a sash of sardines wraps around the hand-stitched fanzine. In the end, as my friend was right to say, it's no longer a can of sardines with Massó stuff inside.