Miguel Rio Branco’s recent exhibition “Através do olhar dourado” (Through the Golden Eye) brought together a collection of photographs produced in various times and places. Beyond the way in which he merges photography and painting, color and light, Rio Branco is interested in aberrant visual stories—narratives and images that recodify ideas of beauty and relevance in art. An iconic example is his early work “Maciel,” 1979. In that photographic series, the artist—playing on the line between documentary and fiction—revealed bodies, architecture in ruins, and the everyday life and