The ancients used the entrails of animals to communicate with the gods. The Latin term for this art of decipherment was "haruspice" - which means the inspection of entrails or the revelation of that which is not immediately apparent. The modern perception of our existence is based on reality as an abyss, labyrinth or fold - that which Drummond de Andrade called the "clear enigma" of language.

Between opacity and transparency, between the visible and the invisible, exploring the nuances of a path that has two extremes, Dayana Lucas (born in 1987 in Caracas; lives and works in Porto) elevates the act of inscribing, graphing, drawing to ritual. There is an initiatory dimension to her gesture, in which drawing is like a machine for seeing and feeling. The invention of a never-ending line, in Dayana Lucas’ work, explores not only the closure of the gesture, but also its beginnings, since the imagination gives shape to a thread that is constantly starting over, without either beginning or end - an ideal suspension of death.

Faced with the current impoverishment of language, signs and flat, algorithmisable messages, this exhibition highlights the desire to retreat from that which has already been said. We could even say that it seeks to surrealise things. The heart of the exhibition is the glass house, an (in)decipherable nodal point that harbours enigma. Synonymous with protection and delicacy at the same time, the glass house can mean being naked within ourselves. It is where the artist makes her fragility (and her strength) visible.

The group of works and interventions on display at the CIAJG highlight the artist’s transition from drawing to three-dimensional form, and how she has been influenced by music and solitary landscapes. Visitors to this exhibition can thereby sense the transformation of drawing into sculpture, into a transparent house, without any mediation. We are the house. We have no glass ceilings.