Was done between the border of Tamaulipas, Mexico and Texas, USA, where the drug war has taken the freedom of the people and brought solitude to streets. That night, I stopped paralyzed by the darkness, and I knew that my life could only continue if I kept on walking; at the distance silence and an almost invisible light… Night is a hybrid entity, variable sometimes bottomless and whose principal symptom is confrontation with oneself. Nevertheless, there are nights that invite to live, and nights that see death. Anylú Hinojosa-Peña proposes a cold and lonely night, a night that has lost life, a night abandoned in images that could be the sequels of “crime scenes” captured by Eugène Atget in a Paris on the verge of disappearing. But, are these images “scenes of crime? or could they turn into them? Are we facing a human race close to disappearing? The truth is that citizens have almost disappeared from the night, we have lost progressively the freedom to live the public night spaces, we have lost the night. This sensation inhabits a society living with fear, facing the uncertain and inhuman night, nocturnal image inhibited by the assault of uncertainty. The images of Low key are also powerful metaphors of the night of the soul. They remind us for an instant of the desolated staging of the U.S. photographer Gregory Crewdson in his magnificent analysis about the spiritual and psychological decadence of his characters in Twilight. For an instant these images have theatrical tones, the cool light condensates an emotional state of very low vibrations, a kind of macabre set up that inserts reality to simulation. Is this night a simulation of the night? This is the night we have, but is this the night we want? The immages of Hinojosa-Peña remind us vividly the terrible scenario described by Alejandra Pizarnik (1936-1972) in her Waiting for the darkness.
Anylú Hinojosa-Peña studied Documentary Photography at School of Visual Arts (NYC).She began her photographic training with professors such as Richard Shulman, Francisco Mata Rosas and Eniac Martinez Ulloa. Anylu has thought entry level, basic and night photography in México since 2009. She has also collaborated in different collective exhibitions in Reynosa, Guadalajara, Tampico and Guanajuato during International Festival Cervantino with iphoneography “Al Vuelo”. Her work was also part of the annual Diary Rendija in 2011 and 2012 as well as the collective online “A Photo Per Day” in Salta, Argentina. Anylu was recipient of the PECDA scholarship (Programa de Estímulo a la Creación y Desarrollo Artistico de Tamaulipas in 2012) under the category Young Artists with her project “Clave Baja”. Currently her work is part of a project titled “Del Golfo al Pacifico” showing in Guatemala and El Salvador.