Summary

"This animism of spaces takes on unusual dimensions in Villa Dionisia (2003-2019), where a family house is portrayed as a metaphor for cinematographic apparatus. The continuous coming and going of lights and shadows illuminates the interior of the house and links it to the exterior - a garden table, a dish with red fruits, a forest path leading to a lake where two children are moving around at the end of summer - assembling memories and childhoods." ⁠— Celeste Araújo