SIMÕES DE ASSIS
Kater's work is very likely an invitation to the experience of multiple regards, since it functions as a mirror image on which one seeks to recognize the elusive in oneself. One reviews it several times during the day, constrained to its ever-changing image. In fact, taking time to regard the projection of oneself over the so-called specular surface of the What where series implies recognizing the attached prostheses, cut-outs in dialogue with the fragmentation of the body, as the juxtaposition of reflexive images imbued with lyricism and affection.Making a direct reference to Samuel Beckett's work, the title of Kater's series leads us to games suggested by him, especially those consisting of turning a lamp on and off in order to be able to see spectral figures and the density of the landscape. Thus, in every new season of ambiguous relationships between expectation, hope and despair, threatened by the loss of senses, to the extent that bodies are defeated by the all-consuming time.