In the dramaturgically interactive accompaniment of the song Metamorphosis by Christopher Chaplin and the text Finley Quaye’s, Sara Glaxia shows the dissolution of ink in water as poetic processes of image construction and inner (dream) or outer (thinning) movements within associative audio-visual fields. The rhythmic penetration of the ink and its distribution in the water widen the boundaries of the actual physical process and create gentle subsequent color explosions and neo-surreal tracks: The roots of man are in the sky, but as gypsophila upside down, the flowers of which touch the crystal ball, and such contacts promise reassurance according to the principle of reconciliation of opposites. This series of color emulsions have representative properties in which there is no indeterminacy in the effects themselves, but only in their poetic encounter. It is the triumph of the part over the whole. The part is bigger than the whole, because if the whole were visible the viewer would set limits in it. But when you see these little spots of it all vividly and in motion, you get the feeling that its scope is limitless. Christian Egger, Vienna 2021