How can language construct a sense of closeness with the world? How can it translate an awareness of the surrounding space? And what could be said if this language were to become inaudible, having dispensed with words? These are the questions posed by Clarissa Baumann in her monographic exhibition at the Dohyang Lee Gallery. The title Protopoem: Sol, Sono & Urubus, in this regard, announces slow, aerial tones — sun, sleep and the vulture, when translated from the Portuguese — even if their French pronunciation suggests other colours: ground and sound, whereas urubus resonates through its strangeness and leads us to an imaginary idiom. Under these conditions, the protopoemcould be the language primer of an intuition that nothing can confirm. Only momentum and groping movements, as if it remained suspended between two airs, destined to operate in perpetual incompletion.