Text by Renata Azambuja
Chimerical Abode, the set of photographs by Janaína Miranda (2010-2012), is presented in a singular sequence. The series of photographs guide us to a side-entry that leads to the abysm of the inner abode.
If there is any deviance, it is found in the images of such a silence that almost scream. But our desire of opening a slit to see the other seems to be greater than the embarrassment of looking at something that does not belong to us. And, then, we look.
Passing my eyes through the photographs, I become charmed with the many possibilities of reading they present: I can run my eyes through them from both directions left-right, and that makes me think on how the most interesting stories are those that give space to the right and inside out sides, as two facets of the same life.
The photographs follow a path on which concepts are unfold in a parallel, but yet integrated. Sometimes they (large photos) appear as something that belongs to an existence – the tree, the woman, and the words – other times (polaroid photos) as interims, in the time, conscience and sensitive levels – the water, what is about to be read, the passion, the keyhole, the unknown.
In that sequence of images I come across little certainties: that the fallen tree in the middle of the wood, abandoned and dry, is followed by the fresh water and the sun on the boy’s head. That on the captured page, almost in the end of the sequence, is written that the art is guarantee of sanity. Statement on which I ponder and add, as the one who participates looking: [art is sanity because it keeps us connected to the unnamable]. The blank photograph.
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