Aus heiterem Himmel

Nacht und Nebel


Nebel XVII
Nebel XVII

100 x 70 cm RC paper. Aluminium dibond. Also available in 70 x 50 cm.

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Nebel I
Nebel I

150 x 100 cm RC paper. Aluminium dibond. Also available in 120 x 80 cm. Aluminium dibond.

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Nebel II
Nebel II

100 x 70 cm RC paper. Black aluminium frame. Also available in 80 x 60 cm.

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Technical data:  Click every image to check the different sizes/details.

     Irene Cruz's photography is just outstanding for itself but the way she talks about it, the texts she chooses to accompany her images make them unforgettable pieces of art. It doesn´t surprise us that being only 26 years old she has already done almost 30 exhibitions between Spain and Germany, won several photography prizes and sold some works in important collections. She came to Berlin a couple of months ago and already has her first solo show planned for the 2nd November 2013 with Circular Culture.


     Her series “Aus heiterem Himmel” swings between forest, light, cold and being. Her photography introduces the human being in different relations to loneliness: prospective, sensuality, melancholy, reflection, getting lost and melting in the nature. The treatment of the light is absolutely perfect, the palette is soft and abrupt at the same time. As the translation that the dictionary give us for “Aus heiterem Himmel”, “Out of the blue”, unexpected, strange, going out of the blue into something else.The mist, the trees, and the mysterious girl caught in motion, hiding her face from us, is reminiscent of the movies from Lars Von Trier. As scary and intriguing as the cursed forests of Lynch´s Twin Peaks.The nature in general and the misty landscapes of forests at twilight is a classic image of the German Romanticism and also the powerful image of the Heideggerian being. Irene´s backgroung and interesses had lead her to this search through the paths of unknown forests.

Ana Sanfrutos

     "In fact, it creates a gap that invites us to reflect on the thin line that separates fact from fiction... interesting proposal."






       The audiovisual work of Irene Cruz together with the chosen texts to explain them invites us to think about our own vital boundaries. An immersion into the unexplored territories between light and darkness, a journey to travel with her through the instance when the day turns to mysterious night. 


      An invitation to cross the border between magic and reality, between the seen and the sensed, the continuous movement of the river and the strengthening stillness of the forest: the flow of  a child’s swing and the ghost of what we can not see or feel: that invisible thing that escapes the frame. 



      Irene´s photos and videos show a poetic and raw naturalism. A Baroque and misty naturalism filtered by the visual metaphysics of Lars Von Trier and the visual poetry of Terence Malick. As Emile Zola said, naturalism can need no more than a fragment of nature to view through  temperament. Irene Cruz´s temperament is like an anvil supporting the hammering of reality, and turning the dreadful pounding sound into a soft scream of reality and existential emptiness. 


      The crazy but very lucid Salvador Dalí boast about his genuine naturalism when saying that he painted barefoot to feel the earth under his two feet. Irene Cruz photograph’s barefoot to feel the moist soil of the forest during the enchanted time of the late twilight. 


      Fly, flow, live and jump. To fall again heavily in the real soil, to feel the moist of the mist, no longer naturalism but turned into Romantic German poetry.


      Falling in the wet earth, barefoot and appearing childish and bewildered, looking into the dark forest, knowing that only by looking is it possible to discover, even when there is no light.


      Making mistakes and learning from them. Erasing the digital board to re-write with an analogue pen: dying to be reborn, stronger and more powerful. Understanding nature in the monist way of Spinoza, as a totality submerged in nature, a nature that captures us and makes us think of the physical and heavy as it were part of the soul.


Eduardo Rodríguez Merchán





     It invites the audience to think about “the borders” that distinguish between fiction and reallity, casuality and casuality... The key of this project belongs to what is expressed in the English word “liminal”- referring either to take up a certain position at the very beginning of a process or being at both sides of a border or threshold at the same time. That is to say, to be between night and day, between calm and restlessness. However, it is not a limit. It is a road, a bridge to cross.

    Everything must flow or must have flown previously. The forest stands as a metaphor of nature in general. I'm making reference here to Baruch Spinoza's words : “Of everything whatsoever a cause or reason must be assigned, either for its existence, or for its non-existence—e.g. if a triangle exist, a reason or cause must be granted for its existence ; if, on the contrary, it does not exist, a cause must also be granted, which prevents it from existing,(...)” 


Irene Cruz



“All things have necessarily flowed, or always followed, by the same necessity and in the same way as from the nature of a triangle it follows, from eternity and to eternity, that its three angles are equal to two right angles. 

In nature there is nothing contingent, but all things have been determined from the necessity of the divine nature to exist and produce an effect in a certain way."

Baruch Spinoza

"We’re going to just take it right out, and it won’t hurt a bit.” He nodded. It was a lie, of course, that it wouldn’t hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. 


Orson Scott Card

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