© Loretta Lux, Courtesy Yossi Milo Gallery, New York and Torch Gallery, Amsterdam

There are few moments in life that make breaks, lighting, sensory upgrades.
Today I'm living one.
After I admired for years with the intriguing work of the mysterious Loretta Lux , full of signs, full of nostalgia and estrangement, I had the rare good fortune to sit in the front row to watch an unpublished interview from German photographer, in the auditorium of the House of Culture, the International Photography Festival Paraty in Focus .
Surrounded by reserves since his arrival, preferred to stay out of town, alone, does not let shooting, he prefers to be silent, dresses quietly. His body type petite, dark hair, the antithesis of the stereotypical German, turn it into transparent, invisible, unnoticed, even strolling the central squares of the city of Paraty, the ease with which he accepted the invitation to the interview in Brazil, which is loath to speak about herself or about his work, and surprisingly, increased the already overflowing curiosity about what actually happens when the interviewer's questions intelligently Eduardo Muylaert be initiated in the theater lotadíssimo photographers.
And the moment has arrived early with a bizarre and apparently boring, since with a pile of papers in his hands and an Englishman born, Loretta begins to describe his childhood sterile and devoid of fun in a pre Dresden known in Germany as the fall of the wall " of the forgotten city, "not capture neither the television signal on the western side. Tells us how this child gray, sad, was fortunate to have grandparents poor but learned that it aroused the taste for classic portraits, especially by the Mannerist painting of the second half of the fifteenth century Europe, which will be a determining factor in the aesthetics of artist would be.
And little by little, surrounded by the absolute silence of the audience, the narrative proves revealing and fascinating.
For an hour and a half with a paced rhythm and devoid of signs of emotion, the photographer travels a path starting staff, explaining his escape from East Germany and its arts training, continuing professional setting his choice of photography as a medium of expression, since the painting is "complicated and messy," and follows by a magnificent journey through the history of art of that final period of rebirth. All illustrated with the projection of the works of artists of the time, especially portraits of children, in contrast to some of your most recent photos. The similarity between the work becomes patent, including the most obvious references to the symbolism, the proportions unconventional, the low viewpoint, careful with the colors and their psychological and aesthetic meanings.
With the sequence of projection images of their most popular, followed by a careful analysis of its possible interpretations and possibilities, and it soon becomes clear that self-reference, with poetic allusions to dreams, wishes to escape childhood into adulthood , and the paradox of the adult world in its constant quest for back to childhood. It speaks of dreams, again symbols of innocence, speaking technique supported the tripod painting / photography / digital, and the building needs and determining colors, postures, gestures, costumes, background scenery, the architecture of the image produced millimeter; talks time and relationships with children photographed, always with the erect posture, his voice firm and secure, with dignity reserved.
The transparency of the narration, the coherence of the discourse against images, the basement psychological, historical, artistic and academic, and the possible dissociation of author / work, now quite clear, make my thrilling experience.
Loretta Lux has just changed my life.