"Like photography, the tree exists in relation to the play between light and darkness, between the light of the sky that enables it to synthesize the nourishment it receives, from the depths of the earth and the darkness of these depths. Rooted in a kind of communication between the sky and the earth, it becomes a figure for photography itself and, like a camera, it also has a medium for producing images. By casting shadows across itself, the surface of the earth, and the bodies or objects nearby, the tree works like a photographic apparatus and, with its collaboration with the light of the sun, recalls the earliest photographic experiments-not only those of William Fox Talbot or Anna Atkins, whose 'photogenic drawings' were among the first efforts to produce images without a camera, but also those of Aristotle himself.
Brodsky’s arboreal images, the many trees that, together, perhaps form the signature of his work, tell us that we, too, will one day die, but, in the meantime, they stand as memorials to the desire for survival, to the demand that we remember the dead in order to live. These are trees for which we can remain grateful: they enable us to see what we cannot see, in the hope that, in this play between sight and blindness, between memory and forgetfulness, between life and death, we might learn how to conduct our lives, how to conduct them, as Brodsky does, with trees in our eyes."
Edition of 1000 numbered copies. Text in English and Spanish.
Display copy with some rubbing to corners, otherwise fine. Final copy.