Curator: Rui Soares Costa

Ceramic floor tiles, Liberty Blue Paint, Laser manual transfer, Varnish
41 x 41 cm (Each piece)

Text by Tiago Casanova

This installation takes a profound departure from convention by crafting a thought-provoking narrative from historical and contemporary photographs and image records, which vividly capture instances of violent acts or the harrowing experience of abuse in relentless motion. By exploring the concept of collection, this installation zeroes in on a most evocative subject: the hands of the abuser.

Within the delicate interplay of shadow and light, this installation invites us to delve deeply into the dark annals of history, where pain and suffering intersect with the power dynamics of human interaction. The choice to center on the hands, those enigmatic tools that can either protect or inflict harm, lends a unique dimension to our understanding of the narratives concealed within these haunting images.

As viewers, we are drawn into an intimate dialogue with the past, compelled to confront the ambiguities inherent in these frozen moments of time. The hands, once powerful instruments of dominance, become both the embodiment of agency and the harbinger of turmoil. Each crease and contour, each tense muscle and relaxed joint, carries a narrative weight that forces us to question the very nature of violence, power, and human vulnerability.

The deliberate focus on the hands serves as a poignant reminder that violence is not an abstract concept; it is an act committed by individuals with the capacity for both cruelty and compassion. In these frozen fragments of history, we glimpse the complex tapestry of human existence, where the dichotomy between good and evil is not always clear-cut.

Through this installation, we are prompted to reflect on the role of photography and storytelling in shaping our collective consciousness. It challenges us to confront the past, to acknowledge the pain and suffering it contains, and to contemplate the potential for healing and transformation that can emerge from such recognition. In this intricate dance of history and artistry, the hands of the abuser become both a mirror and a window, inviting us to engage with the profound complexities of the human experience.