The photographs in Andrea Hamilton’s ongoing bodies of work are composed scenes of idealized nature that have different degrees of reminiscence and illusion. Sometimes Hamilton simply captures the “decisive moment” and other times she reconstructs it through a variety of tools to recreate an impression of the ephemeral moment. Regardless of technique, the result is the resounding message that nature behaves in amazing and unexpected ways. However Hamilton understands reality as an intellectual construction and photography as a tool to negotiate this idea of reality. She likes to capture the marks humankind leaves behind in different spaces and contexts, but also to question ideas of perception and landscape representation. In order to obtain an intimate engagement with the viewer ―and despite being an outsider― Hamilton has developed a palette of techniques and colours that depict the reveries of the land but also the traces and impressions that spaces leave her with in her memory. The notions of time and space are very important in her work. AS Gaston Bachelard wrote in his seminal book La poétique de l’espace (1958) summarizes : “the poetic image is not an echo of the past. On the contrary: through the brilliance of any image, the distant past resounds with echoes.” His writing on poetics and the philosophy of science have influenced the way Hamilton has been developing her series of photographs during the past few years, along with other well- known thinkers such as Roland Barthes and Susan Sontag. Tacita Dean, Hiroshi Sugimoto and Gerard Richter are examples of talents that have inspired her career as an artist. Furthermore, her personal interest in observation, travelling and spirituality has spurred on the creation of a solid artistic proposal since 1990s.