The nature of images in their relation with time and memory are themes that integrate the artistic discourse of Rosângela Rennó, a Brazilian artist that seeks to explore all the potential and unfolding of pre-existing photographic images as well as the construction of possible narratives and new meanings. The Red Series, of which the works - Untitled (king lion)
and - Untitled (two stones)
are part, results from the digital treatment of images taken from original portraits. In these portraits we see men, photographed individually, wearing what look like military uniforms, in an austere and grandiose attitude.

The domestic photographs, digitally altered, are immersed in a saturation of red colour, annulling the white and keeping only the black, leading the image to what the artist calls “visibility limit”. In this way, the images now bi-chromed, are associated to blood and mourning, as a consequence of war violence and military confrontation. Grim and almost faded, the images do not immediately show their content, which is revealed only vaguely and according to the angle of light. At the same time, they require from the observer a slow and rigorous observation to apprehend the suggestion of the three-dimensional character present in the plastic quality of the work.

In both works, the posture of the people portrayed is involved in a certain mystery. If in the work - Untitled (king lion)
a man with a hat appears sitting and shown in profile, assuming a cold, distant, and very objective behaviour, in - Untitled (two stones)
we see the figure of a young man standing and facing the photographer, vigilant and with a rigid posture, in the middle of two stone marks.

These ghosts or characters lost in time are, in this way, reanimated from that past in a veiled procedure where the silence and tranquillity of the images does not prevent them from evoking vanity and power, predominantly masculine, associated to the use of the uniform, in dialogue with the ideas of violence, brutality and suffering.