“The versions produced by Daniel Senise of the Portrait of the Artist’s Mother (Retrato da Mãe do Artista) strengthen the idea that he who travels through time is in fact an immobile traveler. The present is the shore where the remainders of the past return, the fragments of a world whose unity is lost for ever.
The times of the things are deposited there as though decanted. The refusal of the image to vanish is no less extraordinary, its sturdy persistence in reacting to the fury of the elements. But it is possible to foresee its transformation into a hazy blur, the final stage before the silence.
Like so many other works, the Whistler painting travels through time until running into the present. Like a magnet, it attracts the gaze of its viewers, and will continue to do so; it will live in their memories where, as time goes by, like a malleable, porous body, it will undergo mutations, additions and suppresions until emerging again, reborn, transformed, with a different appearance, something else, until turning into something that someone finds familiar, although unable to say exactly what this involves.”
(excerpt from text “The Piano Factory, by Agnaldo Faria, published in Daniel Senise. The Piano Factory, Andrea Jakobsson Estúdio, Rio de Janeiro, 2002)