CONCRETO (2014)

Ten direct shots on cotton paper, taken in Sydney, Australia, in 2013. Sincere. Without digital manipulation. They delicately traverse the time-space continuum and show us, once and for all, the secret gears of a perpetual mobile.

Hitters operates a kind of reverse engineering to construct a delicate mechanism of mass perception, which makes us preferential witnesses to an intangible struggle between the organic and the organised, control and chaos.

The images appear calm, almost harmless, describing formal and chromatic paths without stridency or excessive contrasts, as if charged with a latent but unstoppable tension. They assail us in silence every time we contemplate them, they penetrate our memory, microscopically filtering a doubt, at first damp and towards the end increasingly corrosive, which pierces our conscience to question us firmly: are we the organised or the organic ones?

— Andrés Schmisser.