In(sul)ar marks the dichotomy between reality and fiction, by creating meta-images of an imagined island, where time and space are confused with each other. In(sul)ar reflects the relation between space, memory and history, as well as the mapping of the body and its relation with architecture, and identity. A women walks through spaces of ruin and old erased memories in spaces located in Azores, an Island in the Atlantic which is at the crossroads in between Europe and Africa.
In(sul)ar accentuates the duality between the ruin of the tourist and colonial project, represented here by the disruptive presence of the Hotel Monte Palace, which contrasts with the romantic idea of a tropical landscape. In(sul)ar also refers us to an immaterial, imaginary universe that alludes to another geography (metaphysics), situated between what flows and what is solid, between construction and deconstruction, ruin and memory of the place - here, out of place. A universe between the erudite chant (in chorus) that appeals to the reminiscences of a colonial past, and the deconstruction of the current sense of belonging, which is fueled by the complexity of current migratory flows. It seeks an identity that lives from ambulation and is built through the ruins of the past and the sounds that emerge from the gloom. Something that arises from the interior of the earth and expands to the interior of the body, questioning the place of the individual in the narrative of belonging and place. The project proposes a trip through a body that is not always visible, but that is seen in an imaginary island, understood like an archetype of the volcanic island. Read as a metaphor for a journey into the individual, this island operates as a deconstruction of identity, as a fixed and irreversible origin, underlining the dichotomy between nature and culture, life and death.