9 Inkjet prints on Fine Art paper
109 x 73 cm
The visual complexity of this series is not just limited to the kaleidoscopic game between the flora that inhabits a botanical garden and the textures that make up a diaphanous or ghostly cloak, a sort of a reticulated veil which covers the entire visual plane. Yet another architectural structure is added to this translucent membrane, composed of frames (of windows), which is concealed in a matrix that seems to serve as a framework for the plant universe of an inaccessible nature.
What we see in these images is, essentially, a structure by layers of
visual elements, a stratigraphy comprised of woodstains, reflections and perpendicular lines in permanent
interaction. In some of the photographs, the vibrant tension that emerges is more intensely resonant,
producing, in these cases, a modulation of the visual perception that we would classify as hallucinatory. In
this context, the author proposes we assume a veiled approach to the Phýsis ("Nature"), as if the ability to
grasp the life that flows incessantly were inaccessible to human perception.
In a certain sense, the set of photographs that make up Urupë refer to a metaphysical quality of knowledge, i.e. to the transitional path that allows cognitive access to the original essence of what is to come. The veilings and the common reflections to the images that are part of the series, indeed, constitute a relevant metaphor, allusive to the philosophical construction of truth, in Plato. For the Greek thinker, the "truth" or the "reality" (Aletheia), would consist in a process of uncloaking of the images - or the appearances - that coat nature of its own things.