In the series "A (des)tiempo" Soto uses her camera to immortalize public and private spaces which, little by little, are becoming subject to a type of globalized aesthetic. A sense of emptiness reigns in each of the images, which one by one, the artist illustrates by unifying multiple views of the same scene. They are impartial views, multiple framings, various angles, which the artist utilizes to reveal homes, cobblers, iconographic shops, tailors, florists, fruit vendors - all everyday spaces, which are at the risk of extinction. The artist then constructs large "murals" in which color and composition are the principal components. These captivating photographic sequences are the result of Soto's meticulous research and study of such spaces. Soto's images are a type of "perception phenomenon", which has roots in the conceptual and the emotional, the intuitive and the interpreted, similar to what Jean Marie Schaeffer calls "perceptive emotion", where the effect of the simultaneous is obtained by successive shots which coexist, as in cinema, thus obligating the spectator to reconstruct the chronicle. Soto, in fact, affirms that she is not a photographer of "a single image", but rather "processes". Processes which we follow passing from one frame to the next, from one detail to another, as in the magnificent images that fill the Taller de Escultura Hidalgo, the color gradations visible in the various flower vases of Floristería Hermanos Ramírez 2006, and the green-yellow sequence formed by the bananas in the Bodega El Cartaginés. In the new series "Pictografías", Soto examines spatial relationships, which reflect her studies in architecture. With a "Renaissance" eye, she captures rare spatio-temporal articulations where we find cubic spaces, the confrontation of an interior landscape, and the simultaneity time. Her pieces show elements of popular urban culture from her country, Costa Rica, exemplified in Shamir, 2007, where images of palms and ocean adorn the store's sign. In front of a painted wall, two yellow melons protrude next to a green-yellow watermelon. The round shapes of the hanging fruit are repeated on the table to the right, forming a circular pattern, while the darkness in the background is abruptly contrasted by sunlight which illuminates the table and fruit upon it. The repetition of objects such as fruit, plants, and weathered signs becomes a dominant theme creating a type of motif that is found throughout Soto's work, thus forming an "urban folklore" which vividly describes the quotidian life of Costa Rican society. Irma Arestizábal Cinthya Soto was born in 1969 in San José, Costa Rica, and now lives and works between Zurich and San José. She has participated in various international exhibitions, including: "Artificio Natura", at the Museo de Arte y Diseno Contemporaneo (MADC), San José, Costa Rica, 2002; "Interfaces", Casa de America, Madrid, Spain, 2004; and most recently "Territorios", 52nd Venice Biennial, 2007, where she represented Costa Rica in the Latin American Pavilion, curated by Irma Arestizábal. He work is present in many private collections, including the prestigious Martin Marguiles Collection in Miami. This will be Cinthya Soto's first solo show in Italy.