From the violin and piano of Arvo Pärt was born, in 1978, the piece “Spiegel im Spiegel” (Mirror in the Mirror), a melody for two instruments that brings together simplicity, purity, and innocence. It is like an ascent, a becoming between the violin solo and the three notes of the piano, the “guardian angel” in this composition, which represents, in the composer’s own words, a “returning home after being away.” There are images that lead us back to music, that draw us into the poetics of this most supreme, universal, and eternal art, because it touches what is most intimate and hidden within us.

“Antecâmara” by Inês d’Orey takes us into that territory of the unspeakable, where lexicon and symbolism are of another nature. They portray the emptiness we feel in moments of waiting, the search for our “angel”, like Pärt’s piano which, also in mirror, carries us to other places, suspended in a time and space held in abeyance. Directly or indirectly, the human presence asserts itself as the protagonist of these photographs; the viewer is invited to wander through these narratives, which result from the merging of different series by the artist, and where one seems to hear, in the distance, the words of Vinicius de Moraes:

“Oh, how I wish to hear a nevermore
Saying that life will always be like this
And that the waiting ends,
To hear in spring
Someone calling out to me.”