Hamor: as in Hebrew for ‘donkey’, plus the breath of a H—H for ‘hold’, as if in a loving embrace. A humble animal, a true and universal feeling: the whole project is in that name, in the chance phonetics that signifies at a deeper level.
A search for beauty and authenticity attempted by means of the analogic slowness of photography, of the gaze alighting on people not to display but to discover them, all the more so when they show their human flaws. Analogic—as in handmade, heart-made, taking the time needed to discover and understand, the time to think and to give the human being, whether author or subject, a central role in an ethic and aesthetic search that carries the hallmark of humanism.
To communicate by an image means to be able to listen to the subject and return it to the viewer’s gaze with a humble sincerity, just as it is. In its essence, beauty is true, uncontrived, poised. Imperfection is sign, for each person’s uniqueness is condensed within it.
Verum, Bonum, Pulchrum are Hamor’s ethic and aesthetic tenets. Research in art as in life, for the two are not and cannot be separated. A true likeness is a vehicle of the good, it brings beauty by expressing a way of being and of being in the world.
Hamor is a photography project constantly in the making. Each image is like a portrait, whether or not that is true of it formally—for it comes of the desire to bring attention back to the hidden face of things, the life behind them. Images like invitations to an encounter, a conversation that requires attention and silence.
A HUMANISTIC PROJECT, AND HENCE A TIMELESS ONE, MODERN AS ONLY TRUE CLASSICS CAN BE.