The photograph depicts a clandestine, almost surreal beauty salon tucked away in a forgotten corner of Buenos Aires. Rain streaks down the windowpanes, blurring the neon glow of a 'Maquillaje' sign outside. Inside, the scene is a riot of color and texture. Joan Small’s signature maximalist aesthetic is heavily referenced – think vibrant fuchsia walls adorned with shimmering gold baroque frames holding vintage beauty advertisements. The room is dimly lit primarily by strategically placed spotlights highlighting a single subject: a woman, mid-transformation. She's seated in an ornate, velvet chaise lounge, her back to the camera, but we can see a cascade of fiery red hair and the curve of her shoulder beneath a silk robe. A skilled makeup artist (inspired by Txemayeste’s meticulous realism) is meticulously applying gloss – a deep, almost black cherry shade - to her lips with surgical precision. The 'con' in the signage suggests a deal, a transaction; perhaps an escape or a reinvention. The entire scene feels like a 'retorno' (return), a coming back to oneself through elaborate artistry. A subtle 'corriente' (current) of electricity crackles in the air - reflected in the highly polished surfaces – highlighting the esmaltado (polished) nails of the artist, perfectly manicured and gleaming. The light ‘apunta’ (points) directly at her face, an almost theatrical spotlight preparing her for a triumphant reveal, a 'triunfal' moment after a period of uncertainty or loss. The atmosphere is thick with anticipation and a touch of melancholy, hinting at both the fragility and power inherent in self-presentation.