Raffaella Corcione Sandoval’s exhibition starts near its ‘home site’ of the Casa Cava, whose walls, window sills and windows are decorated with purple drapes that fall through these openings to the outside as if they were escape routes. Beyond the threshold of the Casa Cava, the visitor enters a small courtyard, where they will find a last cloth – resting on a circular stone sculpture on which are engraved the words MaterArcadiaProxima and the stellar map of Proxima Centauri – this symbolises the end of the red thread of history, leading to the exhibition. The visitor enters the Casa Cava through a large space with two arches that provide access to the interior of its nine caves – a larger arch on the left and a smaller one on the right, with a staircase descending from it. At the centre of this space is a large copper-coloured sculpture entitled The ONE, depicting the first existent reality before all things and all beings. The access to the caves is a metaphorical vulva and visitors enter through gaps in the cloth that looks and feels like red flesh. They must touch and move this material to penetrate further into the caves, symbolising paths that lead into the bowels of the earth. A niche in the left wall of the space provides a home for a small sculpture in raw clay entitled Monsalvat. The only illumination in the caves is focused on the colourful and luminous works composed of large canvases hanging on the walls. Projections of the works themselves extend beyond their actual sizes to expand into the environment that contains them, creating the optical illusion of graffiti such as has always existed in this magical place. Thin circles of semi-transparent paper of various sizes descend from the ceiling, flying over visitors’ heads like orbs. And thin transparent bags containing small sculptures in papier-mâché hang from on high, representing timeless "foetuses" shaped like stars. Installations of branches painted red are reminiscent not only of the roots that penetrate the walls of the cave, but also of the veins of a mother's body and the traces of time stratified on the rocks. All will be bathed in music and scented essences specially created by Lisa Barros Greindl, Michèle Gay and the artist herself. These complete the artistic whole to involve all the senses and arouse in visitors a rich emotional experience, evoked by forms of expression and media that are both traditional and technologically innovative.