Two discourses unfold and intertwine in Charcos y Ballenas: on the one hand, the photographic representation of nature and, on the other, the written enunciation of metaphor. The first discourse is imbued with a desire for stability, itself just an instant in the entropy inherent to nature. The second, the deployment of metaphor, emerges as a happy deviation of language, in which unexpected meanings invariably ring out. Here, time is the measure of how long the puddles take to dry, but also the dialogic dimension of two memories in a constant process of (re)construction. As poet Fernando Beltrán tells us, we need to learn Esa lección del charco / que en invierno se hiela / para vivir aún más. Rosa Juanco’s images are the story of an external discovery basking in the promise of its own decay. Beltrán’s poems bring to the surface personal and collective memories and imaginaries, modulated through diverse processes of symbolization. Both artists strive to present a topology of fuzzy knowledge, by means of the conjuring of unstable surfaces, blurred forms and leaves landing on the water, their edges gleaming bright.