“Not only can poetic language complement and even interact with scientific language, but it can even reveal itself as the primary and unsurpassed relation of being in the world, of being in space. Subjectivity is our natural place to approach space (…)” (Wunemburger, Jean-Jacques 2016,) (*) Sink Flow is a concept related to fluid mechanics that could be (briefly) defined as a point into which fluid flows uniformly, directed inwards to the line source. As we get closer to the sink, the area of flow decreases, the streamlines get closer together, velocity increases and fluid disappears through the sink hole. As a noun, the meaning of the word "Sink" points to a receptacle that accumulates water, whether artificial or natural. If we add the suffix "hole", it designates the orifice through which water drains. As a verbal form, "sink" is the infinitive of the verb “to sink” (to plunge, to dive, to immerse…). Furthermore, as to its phonetics, "sink" alludes to "think”, the act of thinking and "sync", to the act of synchronizing. Therefore, the word "sink" means not only something that receives and accumulates water, but also the way by which it flows, its rhythms and its dynamics and the way we perceive it. The project “Sink Flow” is the result of a twelve year survey, in which I followed the course of Ribeira da Seda (Silk Creek) located in the region of North Alentejo in Portugal. The scientific concept of sink flow is brought as a metaphor that allows for a visual poetic approach, but also to convey a deep feeling of disquiet related to a commonplace and familiar procedure: the way we operate in the landscape, by taming and restricting the flow rate of a river directly from a monitor room, as if we were in total control of the forces and dynamics of Nature. In its infinite motion, water flow is a vehicle of thought, a receptacle of memories and mythologies, an object of contemplative experience, but also establishes tensions between depth and surface, fluidity and fixity, introversion and extroversion, opacity and transparency, circularity and suspension, known and unknown. Therefore, in this project, it constitutes not only an aesthetic option but also a preponderant unit in the development of a profound sense of uncanny and estrangement, which is brought to the surface as if emerging from an abyssal secret. (*) my translation – Wunemberger, Jean Jacques – L’imagination geopoetique, 2016