A red sea, a red so vibrant it looks like living blood, with fireworks that appear to fall from the sky rather than rise from the earth. A landscape that only a few painters have ever been able to imagine: Emil Nolde, for example, in his horizons where sky, sea, and clouds merge, or in the works of the Die Brücke (The Bridge) movement in the early 20th century, where abstraction becomes dreamlike and emotional. It is this kind of encounter between photography and painting that surprises me most in Amura’s work. Chance? Destiny? Memory? What techniques, what gestures, in the photographer as in the painter, allow such an encounter when, a century later, we travel roads with no known direction?Napex 223003

Sylvain Bellenger