The usual image of Colombia is one of violence, kidnappings, drugs and the FARC; during her first stays in Bogotá, Huguier knew this would not be the direction of her work. Visiting baroque churches and walking the streets, she noticed that despite the 1961 conclave, nuns still dressed exactly as they had in her own adolescence, carrying a scent of Saint Thérèse de Lisieux imagery, of the pious pictures from her grandmother's missal given at solemn communion. To gain access to the convents she met a Jesuit priest and the bishop of Bogotá, who gave her a directory of Bogotá and Cali's convents and congregations, revealing orders from Spain she had never heard of; her project became a systematic portrait of novices and sisters who had taken perpetual vows, a series made in convents of recluse and non-recluse nuns staging prayer and spirituality.