A sound that arrives late to an image proposes to design posters for an imaginary film - a road movie around a couple who seeks to build an idea of ​​home while traveling. A plotless fiction that navigates between the desire to achieve an idea of ​​shared happiness and the alienating self-awareness of the limits of the language with which each person translates their reality. Invoking the image of posters that aspire to be cinema, rather than their mere allusion, I reflect on the mismatch between perception and language, experience and description, event and translation.

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(to see the first itteration of this project, at Galeria Dinamo, check: a sound that arrives late to an image pt. 1)​

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At the invitation of Bienal de Arte Contemporânea da Maia 2025, two installation pieces were conceived specifically for two glass-enclosed locations: a greenhouse and a corridor. 

For the greenhouse, three posters were painted using white glue. Each one invokes a television test signal, a feature that allows image calibration on these devices. In a play between inside and outside, visibility and invisibility, the image appears as a visual obstacle to the enclosed nature, while at the same time appearing to be a manifestation of the vegetation itself—a kind of breathed message that condenses on the glass. 

For the glass corridor, four posters featuring a broken image expand beyond their rectangles, occupying the windows of the tunnel. Holding the glass despite the cracks, a set of couples' hands appear along the corridor. A symmetrical construction is explored, where the projection of sunlight throughout the day suggests the possibility of a fit between the two glass walls. The magnetism of the paint becomes a symbolic device, as if this power of attraction could actually align the images on the two walls, creating a post-film black background.   

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