In an almost anthropological search, he photographs illustrations from books and encyclopedias; and decontextualizes the images of stuffed animals, vestiges, fossils or dioramas within science and natural history museums, leading them towards an oblique reading. These are peculiar details that draw the artist's attention during the many visits she makes to museums around the world.

It is, perhaps, the teeth of a prehistoric animal that, when enlarged and rearranged, transforms into a landscape with a mountainous appearance; or an illustration of stones that transforms into a portrait of strange beings or organisms. At first glance, the presentation/representation of an aquatic mammal is disconcerting, since the first reading we make is that of a large format painting.

But in reality, the image reproduces a photograph of a painting of a walrus inside a diorama. The images that the Brazilian artist creates are hybrids between paintings, film stills and drawings. His work baffles and attracts through uncertain characters and spaces, almost taken from a David Lynch film, and fiction intersects with reality, while borders slide by showing individuals with lost looks in dystopian environments.

However, when Sofia Borges portrays her family, she uses the incidence of light and large format to dislocate the domestic environment, taking it to the artifice of staging. In this way, transforming his sister into a stranger and turning mundane actions, such as getting milk from a refrigerator or swimming in the pool, into histrionic representations that lose the lightness of the real moment.

It is as if by diving in an ocean of unexplored waters, Sofia Borges discovered possible worlds and imaginaries: dusting off vestiges, extracting new species, grouping her findings, recording and classifying. The images can be strangely incongruous. However, they fit together and are held together by common tones, scales, patterns and characteristics, thanks to which the artist creates a homogeneous set of inexact temporality, which attracts us precisely because of the intensity of its mystery.

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