Following the concert-performance SCINTILLATING SCOTOMA, Jonathan Saldanha developed DYSMORPHIA, a work that reflects the three months of his artistic residency at the School of Arts of the Catholic University in Porto.

SCINTILLATING SCOTOMA stemmed from a worldview in which the tactile relationship with inanimate matter is the primordial source of sound construction. Positioned between matter and anima, pre-language and surface, the concert-performance operates through the intersection of four distinct axes: the human vocal apparatus; the mediation of a haptic language (relating to touch); refraction as a tactical mechanism of mutation and the “re-materialisation” of time; and the camouflage of the word through the voice — between dysmorphia, vocal refraction and a Stations of the Cross.

The exhibition extends this investigation into the visuality of touch and the understanding of the human eye as the place of all images and all reflections. It is not an apology for visuality as the sole point of passage between interior and exterior, but rather a critique of its cultural and organic predominance.