Statement ´Soft Confines`
Adriana Ricciardi Rodrigues Lima
Tracing the Surface
Surfaces of inscriptions, of shallows depths, of ephemerals imprints.
Matter as cumulative layers of surfaces. Inscriptions placed on surfaces over and over, trying to
find in it´s exposure it´s meaning in the process of becoming visible`.
The lost opacity of construction, where materials is reduced to nothing and the anamorphosed
image´begins to drift, to float in an eletronic ether devoid of spatial limits yet inscribed in the
singular temporality.`1
A performative gesture, an envelope. A process of designing through digital medium.
´I do not translate. I repeat processes again and again. Continually re-working is a process in fact of listening,
re-iteranting. Repetition comes to be not just a repeating as the word says but also a kind of a mediation on a
particular condition.`2
Layers of memory and narratives, not linear, but cumulative. Coding the performative with
endless objectives.
In accepting the chance event, open sequences find their ways out of a proposition. The
unexpected occurs, like in nature. A digital process gets closer to the biological, live organisms,
without predictability.
´Tracing the Surface` captions these moments of the unexpected event and it´s inner
possibilities, to find in between states, a process of production.
The photographic surface unfolds through it´s proper border and plain conditions.
When its borders dissolves into itself, replicating, pleating, waving,
empty matter cancel its possibility of inner, closed space.
Flows of traces that ends and ´surfaces` again, in an endless`wavelength`.
Flows conditions of realities that differentiates the continuous plain ´illusion`of the same.
´As the camera moves forward through the room’s space (when carefully studied the movement is not
continuous, but made up of individual passages edited together), one registers the passing of several nights
and days. The camera is ultimately moving toward a spot between two windows at the back of the room,
where a photograph on the wall shows the unsettled surface of the sea; in the end, the camera comes so
close to it that only the waves fill the screen`3 (Michael Snow, ´Wavelength` film)
The pictures are titlted flatness1 and flatness2 and flatness3 in contradiction of the spatiality
of the abstract waves of lines, grids and forms. It´s self imposed limits is a ´flat surface`, a ´Soft
1. ´From Over-to Sub -Exposure: The Anammesis of Les Immatériaux`, Tate Papers autumn 2009 c Antony
2. Conversation between curator Marcello Dantas and Anish Kapoor
from ´Ascension`. Rio de Janeiro/ Brazil/ São Paulo 2006-2007
3. Ulrich Gregor, Geschichte des Films ab 1960, Reinbek, 1983.

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