The softness of those immense shapes with the vivid colours of the crown and the sharp hardness of the small idol create a contrast of materials and hues which does not disturb in any way, rather it pushes the viewer to look for a connection between the two presences, both strongly laden with energy and spiritual strength. The elements of Vasconcelos’ piece which spread out from the center, reach into the glass cases which are set around the perimeter of the exhibition area and which contain other archeological artefacts of the Museum, sculptures and paintings from the III century B.C. to the XIII C.E. , most of them with figures or divinities celebrating the feminine and “placed here to underline their symbolic value and to contain their energy” says Anita Crispino, archeologist of the Museum. All this is combined with the emotional sounds of Jane Winther’s Mantra which accompanies the exhibition, adding further spiritual value to each element and leading the visitor along a magical path within Creation, in which the Ancient is renewed and dialogues with the Contemporary, while the latter loses the ephemerality of the present, and everyone who finds themselves in that enchanted place seems to delight in a place without time.
As such, the installation constitutes a place of connection between the immobile and silent symbols of everything regarding female nature in history of civilisation: it is at one and the same time all the roles, the styles, the models, the choices, the dresses that women have had to adopt in history because of necessity or social expectations; generate, feed, take care of, guide, marry, obey, decide, sustain, produce; all of this done by using the multitude of innate or leant peculiarities, but necessary to find the stimulus to do the actions of every day and to succeed in regenerating oneself, to pick oneself up, reinvent oneself; stimuli such as faith, energy, adaptability, discipline, desire, imagination and always - most of all - love.