The photograph depicts a surreal and dreamlike marketplace scene bathed in the warm, golden light of late afternoon. It’s not quite Earth; the architecture is vaguely Romanesque but warped and overgrown with bioluminescent flora that pulses with soft, internal light – greens, blues, and pinks. The 'mais' (more) seems to be a literal pile of shimmering corn kernels stacked precariously high in the center of the square, reflecting the light like scattered jewels. A solitary figure, gender ambiguous and draped in flowing, pale linen robes ('corpo'), stands near the corn mountain. Their face is obscured by shadow, but their posture suggests profound contemplation. Scattered around them are fragmented objects – a cracked clay pot labelled 'amor' (love), a rusted sign reading 'fora' (outside) tilted at an impossible angle, and a single, vibrant red poppy blooming amidst the stone ('dentro' - inside). A group of shadowy figures ('eles') appears to be dancing erratically in the background ('dana'), their movements blurred and indistinct as if caught in a heat haze. A child-like figure is chasing after a rolling orb ('rebola'), seemingly oblivious to the scene’s underlying strangeness. The words 'quem' (who), 'ver' (to see), and 'querer' (to want) are etched faintly into the cobblestones beneath their feet, almost invisible. A large, disembodied eye ('mte') floats in the upper portion of the frame, seemingly observing everything with detached curiosity. The phrase “limitao” is painted on a crumbling wall, and the names 'rogerinhoblack' and 'felopes' are subtly woven into the patterns of the bioluminescent plants. The overall mood is one of melancholy beauty mixed with unsettling mystery – a feeling that something important has been lost or forgotten. The words “mto” (very much), ‘nos’ (us) and 'est' (is) are fragmented parts of broken statues. A single, elongated limb ('membros') reaches out from behind the corn pile, its destination unknown.