Resurrec on (selaginella lepidophylla

to describe over plant leaves - on which are imprinted images of other plants that live in this garden - a greenhouse, po ng racks, a door? It takes a tree to make a house, just as it takes a garden to build a city. In this change of scale where some images ar are kept and others are superimposed, where light is imprinted, we can rediscover a rela onship with the space we occupy, how we inhabit it and with whom. The reflec on on the photographic in Sofia Berberan's work is approached by a metaphotography, which operates not through experimental photographic processes, but through a representa on at the level of the symbolic th symbolic through a performa vity in which the human figure and photography become a single body. In the first phase of capture, a rela onship is sought to be established between the photographer and the photographed. Through the camera shoo ng, the eye closes and does not see, and in that instant of blindness, an image is captured that holds whoever is on either side of the lens in a net that is visually materialized by the slimes that live in the aqua c landscape whe where this installa on is inserted, keeping a moment that has already passed – as indicated by the wri ng that someone le above this tank, "just memory". The idea of burning is associated on the one hand to an uncontainable desire to see, and on the other to a destruc ve power of Devouring, which manifests itself both in the carnivorous plant that gradually appropriates the image and in the red of the clothes and flowers of the tr tree of fire (which is found in this garden) that hides the face that is unable to fulfil its desire, unless it ends up succumbing to it. The last phase of Resurrec on follows, taking this tle from the plant that hosts each of these images and whose par cularity is th par cularity is that, despite being dead, it reacts to vital s muli by opening and closing itself, some mes in green and some mes in brownish tones. In this contact between botany and photography, however, a rela onship of reciprocity between lig light and the eye is sought, referring to a desire to photograph that is not so much linked to a technique invented at a specific historical moment, as to a primordial desire of the human being to see, which culminates in a kind of visual hallucin hallucina on. This theatricaliza on of the human figure in an incorporeal and incandescent luminosity contrasts with the surrounding plants, beings capable of absorbing and feeding off light and “looking” at the sun while maintaining their own chroma cism in shades of g in shades of green, a colour that symbolises vitality at the same me as providing a calming effect on the human gaze.