Embark through an artistic expression like oxygen, with the atavistic crave of constructing a symbolic, original and singular space. To magnetize this space, a warehouse of aspirations and existential gaps, with the sensitive matter of what is humanly essential and disproportionately. Expression - oxygen.

In the autumn mornings where the revolved Earth emits whispers, dig mangers, cross the tentacular arms around trees, fixed looks to the rocks until they sweat. To carve fissures in time, ellipses of memory, flashes of the unconscious and fugacious meta-visions of the vigils, until it erects an inaccurate and needed architecture for the photosensitive shelters.

The Phloem (“Floema”) photographs, gestated by Sonia Dias, convulse the temporalities of the fantastic. The symbols, the sensitive matter, the time, the memory, the unconscious, the vigils and the architectures to dizzily undermine, wrecked by the interstellar photomagnetic irradiation of its eclipse-images. Shapes deform, conform, reform. Return. Water-well, stone-skin, woods-scar, peninsula-belly, flux-phloem. Moving-memory, imaginative-memory.

Skins of images, rosy, like the colors of plucked barks of ancestrality of the stems of birches, the photographs of Sonia Dias are scriptures of a faraway light: marks and heals, hits back and gives back, intensifies and, finally, eliminates all the polarity between the events of earth and the omnipresence of the celestial vectors. Photographs that sometimes hover over worlds of imaginary realities and sometimes land on the firmament of the immemorial landscapes.

The solar light, crisped, breaks out and redraws itself in the bulkheads of other almost eclipses until it reaches the liquid specular portion. A complex condensation between traces, lines, shapes and colors about the magnitude of making visible the islands of an unconscious territory - the invisible that we see when we have our eyes closed. And returns from an eternal return from this deep of the images, survivals of gestures and emotions, like organic compounds and living cells tissues. Viscous ancestral sap. Fluidity-bond. Pulsation of the world-memory. Phloem, ribs of light sifted off the fantastic. Of a sensor obtuse look of Sonia Dias, that dives into the deep hot waters of a matter called time. Surviving treasure of the primeval memory. Dialectics between the certainty and the absence of what we can’t see and the doubt about everything that is present and turns visible. Images-pores opened in a surface of mystery. Images-experience over other possible worlds opened to its infinity basements. ‍

Eder Chiodetto and Fabiana Bruno