Elements in transformation

One sentence by the artist organises everything seen here: “I see art in nature, in the angles caught of elements in transformation: transformed, or transforming.” It is a statement of method, not of taste. She does not say she photographs nature; she says she photographs the interval.

The series gathered on this site are states of a single investigation. In Des Cobertas, the sand of the Lençóis Maranhenses changes shape with each wind, and the line between dune and water is redrawn every day — to photograph there is to arrive in the instant between one thing and another. In Texturas, the frame closes until scale disappears: with no horizon, stone could be a satellite view or a microscope slide, and that indecision is the subject. In Sombra e Luz, what binds the Amazon forest, the fish at the market and the wall scratched by power lines is not place but agent — light that arrives, delays or refuses.

In Humanos, only three images, transformation takes on a face. Keeping the series short is significant: against the impulse to accumulate, the artist preserves what survived, and places beside two indigenous portraits a spider's web on stone. The juxtaposition is deliberate — there too is someone who builds, and the structure only appears when light strikes from the side.

In Céu e Água she takes photography's most worn-out motif, the sunset, and rescues it through insistence: not after spectacle, but after the line where the two halves cease to be distinguishable. Espelhar is the key — a river dwelling and its reflection, composed so that one cannot tell which half is upright.

In 2024, with Na Trama da Percepção, photography leaves the plane. The prints stop being isolated images and become parts sewn together with thread: what binds the set is not the subject, it is the line. And in 2026, with EX-SISTERE, the camera turns inward. After nearly a decade photographing matter in transformation, the artist submits her own body to the same treatment — the long exposure that dissolves the outline and multiplies the figure. It is the most direct series, and the riskiest. Here the element in transformation is her.