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lilypads, bird, gold
gold sea with mountain
Albarrán Cabrera (b. 1969), #236 from The Mouth of Krishna, 2014, printed 2019
Albarrán Cabrera (b. 1969, Spain)
#278, The Mouth of Krishna, Toyko, Japan, 2015
#444 The Mouth of Krishna, Mallorca, 2016
#532, The Mouth of Krishna, Toyko, Japan, 2016
#490 The Mouth of Krishna, 2016
#767 The Mouth of Krishna
#803 The Mouth of Krishna, 2019, Pigment print on gampi paper and gold leaf
#175 The Mouth of Krishna, 2013, printed 2019
#754 The Mouth of Krishna, 2018
#166, The Mouth of Krishna, Japan, 2013
#43, The Mouth of Krishna, Sevilla, 2012
#99, The Mouth of Krishna, New York, 1999
#147, The Mouth of Krishna, 2013

There is the story of the infant Krishna, wrongly accused of eating a bit of dirt. His mother, Yashoda, coming up to him with a wagging finger scolds him: ‘You shouldn’t eat dirt, you naughty boy.’

‘But I haven’t,’ says the unchallenged lord of all and everything, in spot disguised as a frightened human child.

‘Tut! Tut! Open your mouth,’ orders Yashoda. Krishna does as he is told. He opens his mouth and Yashoda gasps.

She sees in Krisna’s mouth the whole complete entire timeless universe. All the stars and planets of space and the distance between them; all the lands and seas of the earth and the life in them; she sees all the days of yesterday and all the days of tomorrow; she sees all ideas and all emotions, all pity and all hope, and the three strands of matter; not a pebble, candle, creature, village or galaxy is missing, including herself and every bit of dirt in its truthful place. ‘My Lord, you can close your mouth,’ she says reverently.


In any part of the universe there is a whole universe. 

Hamlet saw the infinite space in a nutshell; William Blake saw a world in a grain of sand, a heaven in a wild flower, and eternity in an hour.


Angel Albarrán (b.1969, Barcelona) and Anna Cabrera (b. 1969, Sevilla) have worked collaboratively as art photographers for over 17 years. A rich inner philosophy about memory and experience — and an alchemical curiosity for photographic printmaking — guide their aesthetic practice. Particularly influenced by Japanese thinkers and artists like Junichiro Tanizaki and Kansuke Yamamoto, their photographs question our assumptions of time, place and identity in order to stimulate a new understanding of one’s own experience and perception. For the artists, “being conscious of our surroundings isn’t just an important part of life —our surroundings and how we interpret them is life as we know it.”

Angel Albarrán’s love for photography was inspired by his grandfather. A carpenter by trade, Albarrán’s grandfather created cameras for the photographers in his province before taking up the art himself. Anna Cabrera found her passion at age 16 when her father lent her his Voigtländer camera to take on an academic trip to Paris. Since beginning their collaboration, the artists have attended workshops, learning from such masters as Humberto Rivas and Toni Catany. They have deepened their personal beliefs through through the world of literature, and through extensive travels in East Asia and Western Europe.

While inspired by literature, painting, film, and philosophy, Albarrán Cabrera specifically employ the medium of photography to convey their worldview:

Viewers interpret photographs subjectively by relating them to culture, experience and memory. This means that as photographers, we can explain complex subject matter, or the relationship between various subjects, without using verbal language and its linguistic code. Instead, we use images and prints. We feel that photography can help viewers understand challenging concepts in a different way. A set of images creates a harmony between the viewers’ wavelength and our own.

There is a gap between reality and what we understand as real. And photography (as Japanese dramatist Chikamatsu once said about art) lies in the frontier between the real and unreal, the true and the false. So it helps us to “see” what is hidden from us.

Albarrán Cabrera tirelessly experiment with a diverse range of printing processes such as platinum, palladium, cyanotype, and gelatin silver print. While often toning their darkroom prints with selenium, sepia, or tea, the artists also invent their own methods to add tonal depth to their artworks. The artists use hand-made gampi paper and gold leaf for their pigment prints that emit a radiance akin to Japanese silk painting.

Nailya Alexander Gallery is Albarrán Cabrera’s first gallery representation in the United States. Their photographs have been exhibited in galleries and photo fairs in Spain, Japan, Switzerland, The Netherlands, France, Germany, Lebanon, and Italy. Private collections and institutions that house their photographs include Hermès, Goetz Collection, Banco de Santander, Fundación de Ferrocarriles Españoles, among others. They have also produced photographic prints for institutions such as Fundació La Pedrera, Barcelona; Fundació Toni Catany, Mallorca; Reina Sofía Museum, Madrid; the Photographic Archive, Barcelona.

Selected Exhibitions


Albarran Cabrera: There was never a time when we didn't exist, online show, Nailya Alexander Gallery, New York

Albarrán Cabrera —L'Indistruttible, Galleria de' Foscherari, Bologna, Italy
Remembering the Future, Bildhalle Gallery, Zürich, Switzerland

The mouth of Krishna, This is you, Kairos, Unseen 2016, The Netherlands
Why all the time, Galeria Valid Foto, Barcelona, Spain
This is you, Kochuten Gallery, Japan

The Mouth of Krishna, This is you, Unseen 2015, The Netherlands
The Mouth of Krishna, Photomed Festival, Lebanon
The Mouth of Krishna, Kochuten Gallery, Japan


Festival of Lights, Nailya Alexander Gallery, November - December 2020
Texture, Nailya Alexander Gallery, January-December 2020

Someone lived this, Esther Woerdehoff Gallery, Paris, France
Color of Light: Fifteen Years of Nailya Alexander Gallery

Explorations — New Positions in Photography and Photorealism, Michenko Gallery, Munich, Germany

This is You (I Have Photos Therefore I am), NYC United Photo Industries Gallery, NYC, USA
This is You (I Have Photos Therefore I am), Tokyo Institute of Photography, Tokyo, Japan

Secret Places and Small Details, Galeria Valid Foto, Barcelona, Spain
Collect the World, Galeria Vaid Foto, Barcelona, Spain

ARTtrust Space, Village des Rencontre d’Arles, Parc des Ateliers, Arles, France
O.F.N.I Project, Galeria Valid Foto, Barcelona, Spain

Fundación de Ferrocarriles Españoles, Itinerant Exhibition in Spain