Throughout the last five decades. Ana Jotta has been building a very singular body of work which has granted her an increasingly interna­tional attention. Paradoxically, part of that singularity comes from her complete disregard for sorne of the most widespread rules” of artis­tic practice. For instance: Ana Jotta has no intent on establishing a coherent, recognizable style, nor does her work circumscribe itself to one single media. In fact. she has paid as much attention to painting as she has done to sculpture. she has delved into drawing and experi­mented with etching, and knitting has sometimes graced her studio as well. However diverse and equally importan!, none of these activities has had so much attention from the artist as that which focuses on what we usually call the “found object”. As the name states, these are objects – things of the most diverse nature, really which the artist comes a cross in her day-to-day lile and whose qualities formal, sym­bolic, conceptual or other  somehow capture her interest in a special way. Actually it’s fair to say that they resonate in her very own artistic imaginary, representing it in the same [metonymic] way a collectible represents the collection it belongs to. In this sense, these “found ob­jects” form a collectivity of sorts, a growing body made of different parts. sorne of which stand exactly as they carne about [and which the artist refers to as notas de rodapé [footnotes)I. others having undergone a process of transcription into another medium. and others still getting combined. slightly altered, moderately edited, but rarely drastically transformed.