In 2010, a passing collector encountered Hassan, a man in his thirties who had made his home in the wine warehouse district of Barcelona’s port. Secretive and often silent, he lived on the streets, largely isolated from others. He was said to come from a small village and to have a daughter.
Whenever he had a little money, he would buy batteries for his radio and listen to music. He drew on wine crate boards, which he would resize with a saw and a cutter, creating flat-roofed houses and functional furniture with geometric precision. He worked with meticulous care, positioning his tools deliberately before making each mark.
As a signature, he embedded copper coins into the wood, stamping and polishing them. His tools, pencils, and panels were kept close at hand in a suitcase. When the collector suggested exhibiting his work in France, Hassan responded with a dismissive gesture, as if to say: “Everyone must follow their own path—leave me be.”