- Ano: 2012
- Técnica: drawing / photography
"... the set of works presented thus appears, while in a very disparate way, in the domain of the tradition of tragic representations, whose marked reverberation on the spectator Edmund Burke has been called sublime.
The scenario of catastrophe that is announced in Apocalipse radiates this same reverberation: through these abstractions generated without reference but recognizable to our eyes as landscapes of great aesthetic wealth, a dizzying feeling, a watched terror that fascinates, a salutary fear that relates to the self-preservation, with our conscious fragility and mortal condition, which is affirmed as a negative elevation.
With Apocalipse a kind of slit opens on the flat surface of the landscape and with it a vastness of possibilities which, if on the one hand, go through the natural arrangement of attention to detail, to fragment, to a shatter of memory, on the other hand, they trace the reverse path of the end of time  to the beginning 
Andreia César, 2016 (excerpt from the text "TREMOR")
TREMOR | galeria BangBang, Lisboa, 2016 | curated by Andreia César
"Let us keep our eyes wandering in these compositions, it is to carry ourselves voluntarily to this place without definite time, perhaps for a sepia dream, black and white, in a space that we can not help asking if it will be ours.
As premonitory windows - or as essays - the set of images that make up Apocalypse present the consequences of a path defined by the entropy of an uncaused universe, deeply marked by the inevitability of an end (?). In turn, the absence of figures, in this space that feels so deeply inhabited, pulsates the confrontation of mankind with himself, with the world where he lives, with his creator.
It is the voice of the other, indefinite, in a wandering presence, a trace of what has been and the manifestation of what will be. An Apocalypse that presents itself through a rumor, rumor of a space to the abandonment where the non-existence carries the History of the being. The future essay."
Ana Vieira Ribeiro, 2014