I believe that photographing is always a kind of appropriation and learning. We go through life taking with us records of moments and places that we feel are particularly significant in our lives.
Some photographers, and Elizethe is one such, photograph in a very special way. In her half-playful photographs we do not find human figures, wide spaces, landscapes or any of the subjects considered noble by current requirements. On the contrary, her gaze is almost always turned towards worn surfaces, the textures and scars that time and the elements have produced on these small pieces of photographed reality.
Whether in Porto Alegre, Tiradentes, Istanbul or Hong Kong, Elizethe is constantly collecting fragments of a world that is practically only concerned with her inner universe. Reality for her is simply material for her artistic practice. Her photos are therefore much closer to the tradition and technique of printmaking and watercolor, with their transparencies, superimpositions of colors and delicate compositions, than they are to merely documentary photography. A follower mainly of lyrical abstraction, through her treatment of color and composition, Elizethe achieves, perhaps even unconsciously, a beautiful and rare photographic record of the passing of time, that almost intangible dimension.