“Today, when we all know more photographed–people than real people, when the shadows of the camera obscura are mixed in our memory with reality, it is very important to discover new options, to find young people in this worldwide photo–dustheap, to redefine the language of photography. Insistence on the new has led us to forget the real coordinates of life and of photography. I am appalled by people for whom neither truth nor camera are enough, who are aggressively dismissive of both, but I am also aware of the banality of photographic clichés so widespread today. I am resolutely on the side od Tudor’s intrest for something as traditional as life, and if it is not here that we shall find an eternal source of the new (something like a remembrance of the future) then where shall we find it.
Yes, so much has been turned into photographs, shadows shorn of the substance of life. Yet in the general triviality of shadow we seem only to be rescued by new – photography. When I remember, so help me, how much more clearly I recall Marilyn Monroe than my own grandmother then I am sometimes led to wonder who did make me the white coffee of my childhood. I am comforted by the fact that Tudor, from the very first, realized that what was very important to photograph was what for so long brilliant shadow had obscured – life itself.” (Veselko Tenžera, Vjesnik, March 1999)