Fluorescein in the form of powder resembles the colour of blood clots, rust or crushed brick. When combined with water, its colour becomes characteristically electric, quite different from the initial one. Although the transformation happening in this chemical compound is something natural, its results look like the effect of a futuristic laboratory experiment. The exhibition Ferro by Jimena Kato tells the story of bloodlines, of hidden processes, of things that are not noticeable at first glance. The artist uses several different media, from photography and video to sculpture and drawings, creating multidimensional and mutually complementary narratives.

The large-format work entitled Κόρη that greets the visitors is an almost transparent plastic curtain hanging from the ceiling. The word written on it  means a daughter, a young woman, or the name of the Greek Goddess who rules the Underworld − Kore (Persephone). Her story is closely linked with the story of Demeter, the archetypical figure of Mother-Nature. When she was applying the fluorescent pigment to the veil, the artist left her fingerprints on it. Their yellow-green colour has been highlighted by UV light, bringing out the colour intensity and making reference to the forensic practice of collecting fingerprints and revealing the invisible.

The Solaris Triad #01 triptych, located opposite the curtain, is composed of pictures from a bouquet catalogue and a thermal blanket, whose silver coating contrasts with the fluorescent-negative photographs. The UV light brought out exceptional colours from the depicted plants, starting with white and ending with hues of navy and black. The layout of the photos together with their characteristic colours resemble the style of X-ray images. It feels like this effect was created on purpose, due to the fluorescein often used in diagnostic tests.

The work that complements the plant motif predominant in the show is the tutorial video entitled - U + I, featuring the mother of the artist working on a floral composition. The recorded film is shown in negative, which blurs the woman's facial features and, consequently, her identity. The vase with live flowers in fluorescent water, standing in front of the screen, becomes a material proof of knowledge passed down from generation to generation, a result of Kato's mother's legacy. At the same time, the fluorescence powder and the light bestow the artwork with the status of autonomising gesture, distinguishing the artist's composition from the traditional technique of Ikebana.

Another intriguing element of the exhibition is the plastic tube Transfusion Syndrome #01, looking like part of some medical equipment. Due to its form and location between the video recording and the flower vase, the object can be interpreted both as a blown-up stem of the plant absorbing water, and a vein transporting blood throughout the body. It is one of many spatial objects displayed at this exhibition. Another sculpture is the Cocoon 1138, standing on a pedestal made of styrofoam and lit by a neon; and the Rubber matrix placed on a thermal blanket, whose shape resembles both wicker baskets and − graphically simplified − brain folds.

This ambiguity and diversity of visual references present in Ferro allows us to experiment with various kinds of interpretations, stimulating our imagination. It is a visual and conceptual journey through diverse worlds, coexisting with each other in the artistic universe of Kato. It is an experience infused with mystery and serendipitous excitement that intensifies with every artwork you watch.