Taken in their daily setting, mainly with the aid of a camera, Adelina Lopes's objects are transformed in the same way that, if they remained untouchable until the ends of time, they would inevitably end up being petrified. There is, however, an itinerary for the forms, which end up being the development of this artist's intimate world, or rather, the translation of her world experience. Deep down, what takes place is an aesthetic regeneration, made of lucidity, clarity, but also of a certain distancing, of a demand for communication that, in its ideal state, projects the objects into the future.

Adelina Lopes's work is characterised by a rare balance between objects and the perceptive surrounding she has of them and wishes to have. Indeed, her aim is to make an inventory of objects and positions of objects (a "broken" arm, a tree that functions as a haiku of a season of a the year) that reveal the intimate and secret meanings of things. So, a present half of a plate is also an absent half of a plate, a transparent half-moon, half the world trying to contain the other half that has been absorbed by the white cosmos - if we break the empty, white space, might we be able to achieve a similar effect, that is, will we obtain a tenuous line reminding us of what has been broken, what has left, what has gone away? In other words, how can one contain that which cannot be contained?

Carlos Veloso, New York, December 2003