The shots featured in Una teoria sull’abbandono (A Theory on Abandonment) speak of places whose unknown stories are yet to be told. Places that were once part of our everyday life now lie in a state of oblivion, characterized by a melancholy air of emptiness and abandonment; places bound to definitively decline. The nature is creeping in every corner, claiming back what was once taken away by men, and slowly taking over its own environment: broken glasses, stripped walls and rust stand as witnesses of this increasingly steep decay. Although these objects and facilities are now functionless, they are still capable of establishing an emotional connection with the observers, who are inevitably led to wonder about their story. These are places where the traces of memory still dwell about and stubbornly survive the continuous flow of time. With the aid of his photographic lens, David De La Cruz projects himself beyond the apparent reality to rip off its veil of illusions and to grasp the deepest essence of these places; not just frames, but subjects-signifiers. De La Cruz tells their loneliness, silent, peace. These shots can be read as a metaphor of the fleeting nature of human existence: once there was life, now all is quiet.