Seeing the invisible. Showing what’s invisible in the perception that’s visible. Some artists achieve as much. That is what we perceive here, when we’re already on the other side of possibility, made real by that which is revealed through AnaVentura’s images.
Ana Ventura’s raw material is the stone that time and chance worked on. Walls, façades, ramparts not for inside worlds, but those that openly address passers-by. The artist decodes the life printed on their skin and gives the public their stories to read. She shows us first and foremost the characters inhabiting those worlds.
This is a means to contradict the ephemeral nature inherent to daily life passing us by. ‘Swift’ ceases to be the sole qualifier for the possibility of looking at our surroundings. We feel like watching (and lingering on) each and every one of the scenes we didn’t see that time we were merely passing by.
Scenes as projections in passageways make us remember movies screened in the great outdoors for everybody to watch but, contrary to cinematic language, those images arise from the inside out. Then comes the need for an interpreter, to shed light on them and to help us identify them. That is the job of Ana Ventura.
A very specific form of paleontology, as a method to discover the many layers of materials that turn out to be enduring scintillations. We speak of texture, ink, shadow, bark, shell, and of its core stripped bare. We speak of signs and markings of an existence going by (and transforming and signifying itself).
This is not artwork as found in caves and made in days of yore, although it could be so if we called it by any other name as signifier for the present times. Graffiti? Neither. There’s greater respect for the shapes time chose to draw in such vertical places. They remain intact and available for new combinations.
Her work is as infectious as laughter. It’s a game we want to play as well, following the pleasure of guessing other universes up in the clouds. Deliberately, Ana removes the captions she conceived for each scene and allows us to imagine them. It is a way to engage our complicity, and an artist generous enough to wish as much is asserting the dialectical nature of art. Such is this book.
Photo and digital work
2006 - 2016