In Shadows as Memories, Carlos Alexandre Rodrigues takes us to a ceramics factory transformed into a courtroom, a symbiosis of stage and arena, where facts are presented and arguments are debated. They are like the “12 Angry Men”, excerpts of which are incorporated into these works by Carlos Alexandre Rodrigues, debating guilt and innocence in the pursuit of a just verdict.

Truth, however, can be a subversive game, and, as in Sidney Lumet’s film, a juror may emerge who insists on seeing the other side of reality, offering a new interpretation of the context and inviting us to turn the page. These book-like objects, made of glass, images, and words, reveal the very fragility of existence, where everything transforms—though without certainty—toward a common good.