"It can happen that you see cranes flickering on the horizon. A light breeze carries their mournful cries. One minute later, no matter how eagerly you look into the blue distance, you do not see anything, not even a dot, and you do not hear any sound. The same way people with their faces and voices are like flashes in your life. They drown in our past, leaving nothing more than feeble traces of memory."
— Anton Chehov
Memory, in particular its intrinsic quality of softening the borders of the real, is the key to access Andrey Anro's work. Obviously, each act of recollecting, even in the case of collective memory, can never be as vivid as the present, which only photographic and video technology can capture properly. As a matter of fact, against the inaccuracies of recollecting people and events from the past, a photograph is usually the most effective document that helps us to "keep the past alive". A professional photographer, Andrey Anro started to paint when he became tired of the predictability of the "measured frame" of a photograph.
He resorted to painting when he sensed the limitations in the 1:1 relationship between the "evidence" printed on photographic paper and reality. A photograph is always much more than a mere sign of the presence of the photographed object before the camera lenses. It is a symbol rather than a sign. Consequently, Anro does not reject the medium of photography as inadequate to express his artistic vision. On the other hand, it becomes the starting point to his work as a painter: the photographic document becomes the portal to the grey zone in which abodes the human soul.