Imaginary of the Dwelling, a collection of photographs by Janaína Miranda, is presented in a unique  sequence. The series of images leads us to a side entrance that pulls us into the abyss of intimate  dwelling. 

If there is any deviation, it lies in the images that, so silent, they scream. But our desire to open a  crack to see the other seems greater than the shame of looking at what doesn’t belong to us. And so,  we look. 

As my eyes move across the series of photographs, I am enchanted by the possibilities of  interpretation they present: I can gaze at them in a Western or Eastern manner, and this leads me to  reflect on how the most interesting stories are those that allow space for both the right side and the  reverse, like two faces of the same life. 

The photographs follow a path where concepts unfold in parallel, yet integrated. At times they  emerge as durations (the large photos) that belong to an existence—the tree, the woman, the words —at other times, as moments within time, consciousness, and sensation (the Polaroids)—the water,  what is yet to be read, passion, the keyhole, what is still unknown. 

In this sequence of images, I encounter small certainties: that from the fallen tree in the middle of  the forest, desolate and dry, comes the freshness of water and sunlight on the boy's head. That on  the page captured, almost at the end of the sequence, it is written that art is a guarantee of sanity. A  statement I reflect upon and add to, as one who participates, observing: [art is sanity because it keeps us connected to the unspeakable]. The white photo.