The photographer Ana Nitzan always had a passion for nature. Between this extremely rare and admitted quality – at a time when we, big city dwellers, only see the sunset as a reflection on the darkened sheet glass panes of huge buildings – and the view reveled by this set of images, there is no distance at all. Ana did not have to move away in order to photograph the trees she had planted, tracing a path together with her family, on the land where her father used to live, now present in her memory, and where her children live today, in the same response to the great tree of life.

She did not move away, symbolically, bacause it is among this ironwood brotherhood that she lives, rests, rolls on the ground, sees the sky looking up, sees the tree truks upside down, plays at being a child (…as if she didn’t enjoy fooling psychoanalysis), and makes her photographs.

Since she is crazy about nature, as we have already said, she created a mythology of signs where male and female meet and, in her own words, made her “find herself”: her images maintain a sex in liberty, as if sex did not exist, as if a man+woman were equal to ourselves, another sex, this boy, this girl, and if it exists, indeed, this is how she sees, feels, imagines, facilitates, runs over them.

Hermes & Aphrodites is an extremely delicate essay in blak and white, very refined for refined eyes, as light as an autumn leaf floating in the distance which falls freely, from high above and another one which approaches this firm (firm?) path here on earth.

 

Diógenes Moura

Curator

(“A Leaf from the Leaves of Grass”,poetic licence base don Walt Whitman)