The poetic and formal investigations that underpin the works created by Luciana Rique for the Vulnerable Solid project were shaped by a need to generate visual metaphors that transcend normative perceptions of landscape, everyday life, and the existential dilemmas that have marked her journey.
 

What we encounter here is a body of work that challenges — and extends beyond — the traditional boundaries of photography, crafting visual parables that disorient our field of vision and offer renewed perspectives on given paradigms, objects, or events in time and space. It is through this transformative potential — the ability to shift appearances — that Rique’s work asserts itself as a therapeutic space. Anything that appears fixed can, in her world, be infinitely transformed. The notion that all apparent reality is mutable forms the backbone of her inquiry.
 

Art emerges here as a vehicle for transmutation — an act capable of expanding our awareness and creating a space of hospitality, where our perception of the world and our place within it is broadened. In this exhibition, Luciana invites the viewer into her process: images and materials used in her work are displayed on a central table, allowing the audience to handle them freely and experiment with new combinations and propositions.
 

Originally shown in Rio de Janeiro last year, Vulnerable Solid now arrives in São Paulo in a revised and expanded form. The new iteration places greater emphasis on works that leave the two-dimensional plane, embracing three-dimensionality and generating a fresh field of tension within an investigation already attuned to opposing forces: opacity and gloss, figure and ground, lightness and mass. Nothing is quite what it seems. Rique increasingly affirms the impermanence of both form and material.

At the threshold of these works is a quiet insistence on becoming — a pulse that overrides stasis and asserts motion where stillness might be expected. Every singular being carries within it the latent potential to become multiple.
 

— Eder Chiodetto