Unlike the painter, that works with light, at a distance from the picture, the engraver acts directly on the material, carving it with his burin. Throwing darkness on the paper. The engraving is one of the most emblematic procedures in this world of iron and bricks, of corroded gears amid ruins. The engraver's gesture is a fight with matter.

A cartography artist, Evandro Carlos Jardim accomplished one of the most significant and lyrical mappings of the city's marginal area, along the river. Fragmented visions, isolated objects, as if drifting. Observed by passing people, as if it they were in a train. Trees, a boat, a chair, the moon ... The scattered scenes gradually compose a story.

Reproduced in a folder, a strip that reminds the rail tracks or a travelling shot in a movie, the principles of narrative. A way of telling the city's history. When making copies to be distributed in the wagons, as if they were pamphlets, Jardim adopts one of the most typical practices of the revolutionary period in Russia, when trains were used to disseminate culture and ideology among the people. A sort of pamphleteering, in which slogans are substituted by the sensibility of the artistic observation.

Traffic scenes, ordinary urban elements, daily objects are enrolled to compose an unusual map of this area. Images recorded in the unconscious of the passer-by, fruit of distracted observation, that the artist knows how to capture. The engraver's glance makes us see all that is there, but that normally escapes us. It is a vision: paradoxically, it exposes through the shades what we cannot see.