This new series of works is in some way a continuation of the previous series, where “old wives' tales” continue to be revisited, but now also with a narrative influenced by fictional cinematographic imagery.

Based on fictional self-portraits, it explores, on the one hand, this discussion centered on female identity, as a process of identification, of defining predetermined sexual and social roles, but which does not stop here, since any person (woman/man , child/adult) is accompanied by their own self-image and the judgments or assessments they make of themselves. Everything that surrounds us can (and usually does) have an impact on us, whether in the way we think, how we make decisions or how we act. Who has never identified with scenes or characters from some short stories or movies? And who, not identifying himself, wanted to be like a certain character?

The content people consume for fun plays an important role in attitudes towards tolerance, diversity, social justice, crime and terrorism. The unique state of mind that occurs when we are transported by stories and identify with characters makes fictional stories — especially those most disconnected from our current reality — a more potent agent of political learning than overt attempts to teach politically relevant values. When being transported into a story, we tend to accept the reality of it and become emotionally involved in the story's imagery. This means that we are less likely to argue back and more likely to take these messages with us when we leave fictional worlds.

So, the art full of that experience that comes from everyone of us is believable or, at least, should pull the spectator to a highest level of commitment, complicity, respect, interest and willingness to understand.

The artist treats “fairy tales”, fictional cinema and her own experiences, as an imaginary anthropological collection to give life to this set of works that tell different stories from a more passionate perspective that corresponds to a time of life different from that of the “Endless White Tales” set where the main character has been around for a century of existence , a phase of life in which a lot of things have already been made up, where there is a reconciliation with the past , unlike this one which corresponds to a younger, more emotional phase, rebellious, critical, revolutionary, restless and passionate.

Célia Machado seeks to portray the essence of what it is to be human, without forgetting that we are highly complex and non-linear creatures, and here she explores different dichotomies, as well as recovering the concept of the innocent and apparently fragile woman who, due to the setbacks of life, goes against her nature and sometimes embarks on the “an eye for an eye, a tooth for a tooth”.