Cañas defines herself as an audio-visual cannibal, a collector and archivist. Her works invite the viewer to reflect on the strange blend of fun and sensationalism, of the lugubrious and sensual imagery that surrounds us. Cañas directs her provocative gaze at situations and lives on the edge: the National Holiday, the universe of the Iberian pig, television, reality TV, pornography and emotional relationships. Her work consists of micro-stories about indifference, internal fires and the marks of life on the edge. Her iconoclastic understanding of the spiritual applied to art allows her to connect with classics like Bosch and Caravaggio with the Dadaist corrosiveness of Duchamp and the other avant-garde artists. Artistic tradition and her fascination for classical melodrama, full of extreme feelings, lie at the root of her works. Her obsession with penetrating the dual face of Love-Hate is articulated in Kiss the Murder, in which the screen is split painfully in two, creating twin figures divided by hate like döppelgangers: the phantasmagorical double which bites us and raises us up when we least expect it. The artist shows us love as a source of pain and death, the madness which nourishes our emotional relationships, lighting up a sombre immobility which offers two ways of facing love in our disbelieving era: Hopperian melancholy and the animal brutality of Bacon. For Cañas, “Love is the Supreme Assassin, who, in the words of Nietzsche: “gives us pain and thus life.” In Kiss the Murder, we observe in perfect synchrony the interplay of light and shade of madness associated with a latent and mysterious violence, creating a visual illusion in which images grown tense to show love on the edge, tormented lives. The characters in Kiss the Murder act by means of erratic, amnesiac behaviour, suspended in time until violence unconscious of its actions decides whether to show itself or not. It has no future to cling to with regard to the stifling atmosphere, and tragedy hangs from a thread at every instant.