After a creative period that resulted in the paradigmatic photographic series “Voy a hacer de mi una estrella” (I Am Going to Make Myself a Star, 1975) and events such as his arrival at the Centre Beaubourg in Paris in a black Mercedes surrounded by bodyguards and being received by its director at the door, Carlos Pazos entered a tough period of inactivity. “I went through a terrible period. I saw no way out; I didn’t know what to do. I slept a lot, thanks to booze and pills. And I dreamed a lot, so I latched on to the creative part of my dreams. I strove to remember them, noted them down, organized them... and I realized that spaces and objects from my childhood and adolescence continually appeared, distorted: Bambi, a teddy bear, an electric guitar... mingled, with a great erotic and sexual charge.” Pazos returned to creating objects, taking from experiential events and dreamed experiences. Aquella noche volví a llorar con Bambi makes uninhibited use of materials characteristic of this provocative artist who defies classification. Neon, plastic, fabrics, plumes... his personal interpretation of kitsch taste identifies a way of working. In his works from the 1980s, Pazos uses heterogeneous materials—some industrial, others lavish, others vulgar—for his message that lies somewhere between poetry and criticism. On top of an assemblage of different materials, the evocation of the figure of Bambi through a neon light is an autobiographical element. “It works as an affective element, tied to childhood, to the loss of the mother. I didn’t take a teddy bear to bed; I took Bambi every time my mom got mad at me. He was my supportive partner.”