2012-14, chemigrams, inkjet print on fineart cotton paper, 50×140 cm (aprox.),
Edition of 5+1 Artist proof
“… 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”)