An eye that observes through the camera and, in so doing, creates a game of
hopping from place to place with the need to salvage something: traces, ruins, or
perhaps a fleeting fragment of beauty.
An observer who sees herself confronted with a double game, pacing through
Heaven and Hell and thereby observing the obvious: unfettered feet, imprisoned
feet, decorated or defined either by their nakedness or by their enclosures (feet
in wool, leather or cotton). Surfaces instruct them, with textures of stone, cement
Jumping from one picture to another and locating subtexts: countries, cultures,
sounds, colours and contrasts that are suggested by crossings of poetic vision.
Each tour is distinctly different. The path is a result of the pedestrian’s tossing a
stone and is completed through his or her visually or conceptually associative
imagination. (flat foot, lead foot, crow’s foot, rabbit’s foot, footprint).
Fetish, apocryphal extremity, defined attribute, a symphony of curves with the
profile of a seahorse. The visual metaphors of these syncopated photographs
take on a dual function at the intersection between the individual and the world:
Synecdoche a/o metonymy of the wanderer and his surroundings.
Not only feet; but footnotes, captions.
Nancy Horowitz’s photos transform us into ocular wanderers,
Translation: Maura Bayer