Ana Devora was born and raised in Madrid, Spain. Having worked in major art capitals such as Rome, London and
Madrid, Mr. Devora has established herself as an internationally renowned Cinematographer and Visual Artist with
skills spanning cinematography, editing, photography and painting. Ms. Devora earned a Bachelor’s degree in Fine
Arts, specializing in Photography and Audiovisuals from the University Complutense of Madrid, and she has attended
well-known workshops of Cinematography and Graphic Design in various institutions in Madrid, Italy and NY; Taller
de Cine Pablo Alvort. (Madrid – 2006), Workshop of Cinematography Caprarola (Italy - 2009), Arri Cameras and light
workshop (NY - 2013).
From 2008 to 2011, Ms. Devora worked with renowned international Visual artist and filmaker Marinella Senatore. Ms.
Devora employed her cinematographic and visual art skills in the areas of cinematography, photography and editing.
Together the pair created various visual artistic works with Ms. Devora working in a lead role producing the visual im-
age; “Speakeasy” (2009), “Generation” (2009), “Own double entry” (2009), “How do you kill the chemist” (2009), “Nui
simu” (2010), “Jammin drama project” (2010), “Variations” (2011), “Estman radio drama” (2011), “Rosas” (2012).
At the same time Devora worked doing the video and photographic documentation for important and recognized in-
stitutions, galleries, art fairs and museums, such as MAAS (NY), Matadero de Madrid (E), MAXXI Museum (Rome-I),
Museo Riso (Palermo-I), Umberto di Marino Gallery (Naples-I), Exelettrofonica (Rome-I),
She did Collaborative projects for International artists and directors such as Pietro Ruffo,for the video “The Freedom
and its disease”(Italy 2010); Laura Lona in her video performance “Devenir”; artist Richard Garet at MAAS in his per-
formance “Working with sound in real time” and “Light, motion and radio disturbances “; artist Maria Evelia Marmolejo
in her performance “May 1st, 1981 – February 1st, 2013”; artist Shaun Leonardo in his performance ‘Untitled (A Per-
formance Project)’ and taking the photos for the Leonardo’s athletic work as part of the Contemporary Arts Museum
Houston’ exhibition “improvisatory percussion with Greco-Roman wrestling”(2013); Nazir Ahmad Hausawa, taking the
photos for the music cover of his new Album “Ziriums”; the film director Nicola Stefano Zurlo, working as a cinema-
tographer for his documentary “Z’EV Documentary” (London 2012); she also collaborate with the production designer
Zahira Barneto offering an artistic installation piece for the façade of a high-end hair salon, Pickthorn, located in Bush-
wick, Brooklyn, NY, due to their intervention Pickthorn is the winner of The Best Hair Coloring in New York 2013.
She worked in several music videos as cinematographer and filmmaker: “A better day” - 2Hurt, “Corrido Libertador“-
2Hurt, “I’ll wait for you”-Nijay Sincere, “1.1.” & “1.2.” - Tyrone Earl Robinson;
She worked in Video art and short films as both, director and cinematigrapher “The Village”(Salamanca Spain
2012-2013), “Amnesia” (NY-Spain 2011), “The big City” (Madrid 2010), as well as feature films as “Highway
Grooves”(2012-2014 ongoing project), “Sur La Route” (2012-2014 ongoing project), “Cuervos (Cantabria, Spain
Ms. Devora’s artistic and personal work has also been exhibited in group shows at reputable museums and art exhibi-
tion spaces including at the White Box NY (USA-2010), En.Piezas 11. La Casa Encendida, Madrid (E-2011). Venice
International Experimental Cinema and Art Performance Art Festival 2014 at Palazzo Ca’ Zanardi, Venice (I)
International ArtExpo 2014 - Future Identities, Bodies. Places and Identities at Palazzo Albrizzi, Venice, (I)
CULTUR3 Fair Second Edition 2014, Gijon, Spain (E), FAIM, Independent Art Fair Madrid 2012, Madrid (E).
the Fundación German Sanchez Ruizpérez, Peñaranda de Bracamonte in Salamanca, Museo Marina Gómez, Alaraz,
Salamanca. (E-2008/2009), the FAIM Art Fair in Madrid (2012), Sala ABAC, Madrid, (E-2008).,Centro Cultural Buena
Vista, Madrid, (E-2008), TOSHIBA. Palacio Duque de Pastrana, Madrid, (E-2008).
She won several painting, photography and video contest in Spain:
V CONTEST OF PAINTING of Arevalo, Ávila, (E)
2010 SANCTIONED ARRAY at WHITE BOX, NY, (USA).
II CERTAMEN ARTES PLASTICAS UCLM-Finalist. Ciudad Real, Madrid, (E).
2009 CONCURSO CREA, PHOTOGRAPHY, Pozuelo de Alarcón, Madrid, (E).
2008 CONTEST OF PAINTING of Alaraz, Salamanca. (E)
CONTEST OF PAINTING DOLMEN DE DALÍ, Madrid, (E)
Her cinematographic work has also been recognized by renowned film festivals including:
The world famous Cannes Film Festival (Short Film Corner, 2011), V Edition The Scientist - International Videoart
Festival in Ferrara, Italy (2011), The 16th Milan Film Festival (2011), and the 56th International Short Film Festival
Oberhausen (2010) among others.
She is currently working in the postproduction and color correction of the feature film “Cuervos” directed by Raul Romera, starring Asuncion Balaguer, Fernando Ramallo and Rikar Gil, shooted in Cantabria, Spain in march 2014 where she was
Cinematographer; she is working also in the postproduction of “TrasNazarin” documentary about Luis Buñuel, directed by
Javier Espada, starring Carlos Saura, Asuncion Balaguer, Luis Eduardo Aute and Carlos Reygadas, among others.
At the same time Ana Devora is working on the Preproduction of the two more important and recognize films at the mo-
ment in Spain as a cinematographer:
“Yerma” directed by Emilio Barrachina, adapted from the famous play Yerma of the poet Federico Garcia Lorca, the film is planning to be shot in NY October 2014. “Liberty Station” directed by Emilio Barrachina, planning to be shot in Madrid,
Berlin, Chicago in February 2015.
Ana Devora aims to illustrate how reality changes depending on an individual´s geographical background and social point
of view, in contrast with what is shown to us as everyday reality, whether that might be through private life or through the media. The main point to bear in mind for the artist is the interaction between people from both outside and inside the local community, investigating concepts surrounding the absence of communication, she means all that is hidden in the process of the relationship between others. The different points of view that each person has in psychological or geographical terms. The wallls that each person puts in front of themselves, consciously or uncounsciously, most often due to fear provoked by a particular situation. Her projects revolve around a psychological open debate which invites the individual to
reflect and consider the communication, or indeed lack of communication that exists between individuals. In each project,
she follows a specific route between key locations, whereby each stop presents a different scenario in a different location,
and each person that she comes across on this journey has the potential to feature as a character in her work. Her aim is
to expose everything that the human eye does not normally see, everything that is hidden in each individual, and is never
shown or observed, going against everything that we know and everything we are led to believe, a reality that in a certain
way, is interpreted in a very objective manner which can either seem real or pretend to be real.
Cinema was basically viewed as a fairground attraction but also as an art form thanks to the fact that it turned out to be a
perfectly good medium for telling stories.
She describes Cinema as the music of light, she plays with the light and shadows to create volume into the frame, and
works with the movement of the camera in relationship with the characters in a scene. She uses the technology that
fascinates her or that suits her purpose in each project; the cinematographer is the one who needs to be inspired by it,
because more important than the technology is the mentally, the ideas and how to aproach the best to the public.
She gained the experience of filming reality with a cinematographic eye, even if she is filming a documentary, she comes up with something in her mind and then she tries to find that in reality.
The best way to film is feelling the body lenguage and dance with them at the same time with the camera movements.
Her background as a painter and photographer allows her to frame and light the scene, giving to her projects an specific
and artistic point of view mixing reality and fiction.
Ana Devora (1987) is a Spanish Cinematographer, Filmmaker and Visual artist. According to her own website, her work
is a reflection on the grammar of cinema and the relationship between visual art platforms and film festivals. Devora uses
situations taken from reality in such a way that the public space seems to become a gigantic film set or for the contrary
she recreates with the Production Designer and lights the perfect stage. With her key eye for photography, she creates a new cinematic reality. As a cinematographer she usually modulates the light. In short, she creates a very specific style for each film, and she slowly started to drift away from her own rules to achieve a specific look that matches the storytelling.
Ana Devora aims to illustrate how reality changes depending on an individual ?s geographical background and social point of view, in contrast with what is shown to us as everyday reality, whether that might be through private life or through the media. The main point to bear in mind for the artist is the interaction between people from both outside and inside the local community, investigating concepts surrounding the absence of communication, she means all that is hidden in the process of the relationship between others. The different points of view that each person has in psychological or geographical terms. The wallls that each person puts in front of themselves, consciously or uncoun- sciously, most often due to fear provoked by a particular situation. Her projects revolve around a psychological open debate which invites the individual to reflect and consider the communication, or indeed lack of communication that exists between individuals. In each project, she follows a specific route between key locations, whereby each stop presents a different scenario in a different location, and each person that she comes across on this journey has the potential to feature as a character in her work. Her aim is to expose everything that the human eye does not normally see, everything that is hidden in each individual, and is never shown or observed, going against everything that we know and everything we are led to believe, a reality that in a certain way, is interpreted in a very objective way which can either seem real or pretend to be real.
In each project, the artist follows a specific route between key locations, whereby each stop presents a different sce- nario in a different location, and each person that she comes across on this journey has the potential to feature as a character in her work.
The project “I am a body in the space”, is a roadtrip shot in Jordan and Egypt in 2013-2014, but instead of showing a video piece the artist shows an interpretation of the route and the state of mind of the character through paintings (walls that we put ourselfs in front of us and represent the 7 vices that always exist in each individual as a part of the opposite meaning (the positive states) and photographies.
This roadtrip that affects to each individual, reflects the meaning of transportation, roads, the buildings’ structure, the Media, the landscapes all thing surround oneself, the memories, bar-codes that show the expiration date of any object , civilitation, thought or even each individual person... All the things that take part in a daily routine and show the 7 vices and their opposites states as part of the individual, as a part of life.
This particular project “Marionetas”, the artist faced it as a group of installations, where paintings, objects light and sound represents particular situations, inviting the public to think how could it be if were RESETED.
Jumping from one thought to another without any apparent connection. There is a sudden chasm, welding reinvented gear parts, that change reality logical form, and masked it.
Following a serie of events, you develop a theory, and some evidence to prove it, creating invented objets and charac- ters that matches your purpose as a gear machine.
Some of them will lead the hoax and the most of them will be the puppets ( consciously or unconsciously ) until the “house of cards” be thrown.
Let the disease of ego depart. Stop just for a second and see it from above. The stillness of the hurricane eye, where you could see and feel everything without even be affected by it.
It is the sound that evokes you the mental state, the sensation and the sound is following by the light or the darkness in each situation.
If you are capable of maintaining prospective, you could see in any part of the world, the natural chaos of nature, that seems not be in order at the first glance, but if you are able to adapt to the constant change, you could observe the fractal reality around you. Same layouts, and shapes repeated itself in an infinity way... in a fractal scale.
If the only thing that exists would be the silence, the silence itself wouldn’t exist for you, you wouldn’t know it.
As well, if there were only space, and any object were within it, neither exists. In order to allow this two concepts exist, the space and distance, at least two reference points are needed.
In the humankind the consciousness is completely indentified with their masks, or ego.
Only knows itself as a form and therefore lives with permanent physical and psychological annihilation fear, That doesn’t allow you to move forward.
Finally the pressure of suffering caused by this apparent dysfunction forced to consciousness disidentify with shape and wake up from the dreaming shape, recovering self awareness but at a much more deeper level than when was lost.
When an individual are RESETED They act knowing the natural knowledge, and find it easy because doesn’t have a mind that keep alive the past, neither build an identity based on it.
Reeducating society, you are going to deprogram learned patterns and apply new ones where gender, race and frontiers doesn’t matter, where the professor and the student interchange each wise knowledge, contributing in each individual person and therefore the society, allowing everyone to grew up, or at least having the tools to proceed. Learning to think, measure and acquire.
Knowledge is unlimited and has no limits and boundaries. It does not belongs to a branch or another, It is all one, a spiral.
Go far to get closer.