Here is about small personal inscriptions in a longer temporality and in a space rendered more public.

Ancient impulses sustain a naïve practice of inscribing names, loves and dates in the surface of other organisms. De-characterizing and (de-)figuring the original elements, we create a new figure that supposedly identifies the ones who draws it. The instrument that marks, is usually he knife – the knife that perforates and hurts. Nevertheless the end result is closer to a tombstone: Here lies a moment where I was here, here lies an exacerbated self-conscience of the I.

In Here the inscriptions are no longer in the skin of the cactus, as it is usual in the surroundings of castles, parks and other touristic sites (and could it be the ancestral monumentality of what remains that triggers in the passing tourist the desire of trying to stay a little bit longer there?). In Here the inscriptions are moved to an equally obsolete medium: the film. Drawing directly into the revealed photographic film, we withdraw the film emulsion by the strength of the needle, in order to let the light of the scanner pass through it and reveal the text.

The testimonial insistence I Here Eu Us Ici also reveals a certain degree of inner confusion, the quantity of cactus and trees that have to be marked through the indecision of opting for one language (Portuguese or English or French), through the repetition of the personal pronoun (I/Eu), in a here that we don’t know where it is to be found, as it is crossed by dissonant geographies. Therefore, in Here real photographed cactus and trees converge with the materiality and physical presence of the photographic film as an occupied physical territory.