Throughout history, the healing powers of many female magicians have been veiled and violated due to colonial thoughts. Although these practices continue to be carried out from places of resistance, these practices are still condemned by patriarchal societies. I use the photographic archive to resignify the care tasks of all the women who have been prohibited from healing using magical / herbal knowledge and in parallel, I performed my own rituals from an emancipatory magical-political position. I seek to unveil the world-building powers that we all woman have, worlds that accompany others and contain worlds. I collaborate with sensitive objects, containers of living traces through which other knowledge is revealed. Sunlight, moonlight, honey, pollen, water, cotton threads, and paper, as well as my feet become other meanings to generate multiple touches that accompany these animated photographic prints. It is at the moment in which the photography is crossed with light and touched with different elements where it is filled with these languages. A time is then inaugurated where we perceive a double presence, a double touch of light, and it is in this imperceptible encounter between photography and the light that crosses the paper where the photographs become a body capable of interrelating with the world in an animated way. Photographies have a vital principle that coexists with plants, thread, paper, water and different elements within the rituals where there is a touch on paper that embraces and interrelates with others in an attempt to create visible metaphysical photographic living worlds of multiple touches, which they are ecosystems, gardens that are in no way fixed, that are mutable and open. In contrast to these actions, I cross out the rational languages ​​written inside and outside the photographs to make the healing language visible through these sensitive objects and to build a new language.