The series "Pandora" was made in Berlin over the last 3.5 years, I have been living here with my family for 7 years. I was looking for the appropriate light and places (any place where nature wins and conquers the city) and I found that we were surrounding by forests, parks and fields in our day life .Those photographed are my family and most especially my two daughters.
The series “Pandora” is opening a hatch to my past and to my childhood. By looking to my past in a retrospective manner, I released many things that were locked in the box for years and repressed and buried under the ground deep enough that I would not have to deal with them.
״By looking at one!&s own life we repeatedly encounter the mysterious process of remembrance and suppression. With Noga Shtainer, homesickness includes the longing for a space we lived in the past, which we usually circum- scribe with the term childhood. She is searching for the lost - the artist digs up the moments of this previous part of life that were covered up in one!&s memory. In her photography she is creating poetic qualities in her pictures from which she consequently excludes any non-poetic items. It!&s about the sentimental and oftentimes only weakly imprinted memories of childhood episodes which she brings back, and behind which very suddenly more dark memories, confusing phantasies and disturbing dream images pop up.
Shtainer!&s pictures are magic conjurations of a longing for a childhood that is within us while it is simultane- ously intruded by dark phantasies. The strange thing about it is that as a viewer one does not wish to evade the darkness of the pictures. Everything seems possible in them, the beautiful as well as the terrible. We certainly do not flee from the scenes. There is a hallucinatory pull in them that draws us deeper and deeper into the spheres of the inexplicable. More and more we get entangled in the pictures only to move out of the magical landscapes the photographer spread out before us all dazed in the end. Yet, Noga Shtainer!&s stagings invite the onlooker: one can return whenever one wants. Her pictures keep the door to buried memories opened a crack...״
(Curator and writer Peter Lindhorst, 2017).