In Transit

Four large steel rectangles stand in the exhibition space. The installation recalls the security screening sta­ tions travellers must pass through in airports. In reality, the metal structures are the dismantled doorframes of Marco Godinho’s house. They evoke exile, of course, home left behind. But the dismantled, doorless house also alludes to a nomadic home that has become a field of exploration for the artist, where each ordinary, everyday element finds its poetic and philosophical significance. One could even imagine blades of grass growing on these exiled thresholds, vegetation carrying within it soil from the land that surrounds the house, the result of the converging forces of water, moon, sun and vital energy experienced on its journey.