Drawing on her own ancestry—a mix of Portuguese and caboclo (Indigenous and European) heritage—the artist describes her experience with the Krahô tribe in Tocantins. Although perceived as "white," she was ceremonially baptized to become "one of them," a ritual where she was given the new Krahô name, Kapekwii.

This work suggests a connection between this personal event and the ideas of Oswald de Andrade's Anthropophagite Manifesto. Andrade used the metaphor of indigenous cannibalism to argue that Brazil should "devour" European culture, transforming it into something uniquely Brazilian. His manifesto appropriated Europe's conflicting stereotypes of the indigenous "Other"—both "barbarous pagan" and "noble savage"—into a powerful statement of national cultural emancipation. However, this concept conceals the uncomfortable reality of a deeply divided society.

The artist explores this societal division in a video installation that uses two projectors and mirrors to create duplicated perspectives of her Krahôbaptism. One view shows her walking towards the camera, while the other shows her walking away. The repeated ritual of walking between two rows of chanting tribe members, who declare the death of "Ellen" and the rebirth of "Kapekwii," becomes a central motif. The duplicated images form a knot, symbolizing the weaving of her new identity with the old. This looping visual metaphor reflects the cyclical nature of the ritual, suggesting that the "unraveling" of a past identity is a necessary release that allows for a new creation. In this way, the installation engages with the Brazilian societal "knot"—a nation where its miscegenated people are rarely conscious of descending from both victims and oppressors.