Born 1972, Israel
1998 / BFA, Department of Photography,
Bezalel Academy of Arts and Design,
Jerusalem

 I start with an attempt to create a place and only then to document it in a photograph; to detach objects from their usual adjectives, to annul the common
familiar meaning they hold and rearrange them into a different and coherent reality.
 
The new works, The Keys, photographs in horizontal/panoramic format comprised of multiple details photographed separately and then weaved into one pictorial space in a process of synthesis, evolved from a previous series entitled Table Tops, created in 2009.
 
In the previous series the initial action was a search after parts that were severed from a familiar, urban reality, pieces of an urban whole such as road blocks, building’s walls, scrap metal, fragments from living room panels and soon. Later, juxtaposing them with pieces taken from unknown worlds, I have built new places that form worlds/gaps/shelters, in the guise of architectural proposals such as: A Backyard With a View, A Proposal for a Vacant Location, A Space for a Man with a Chair, Return to a Familiar Place, etc. The new “places” were constructed on the surface of a table, and their specific placement opposite the eye (the lens) had created for a moment, and only from a single angle, “a place”.
 
Thus, for instance, a stone with a photograph from a book about a place that was ruined in the course of time or history, a metal pole, a small piece of metal that (probably) functioned as an integral part of a building’s structural support, with a blue paper napkin that moved during the exposure and brought a new wind into the forming space – and there you have it, there is fusion and a place is born. A fabricated place, but at the same time clear, vital and relevant.
 
Through a different lane of the same thought emerged the new works. These are constructed of a puzzle based on accumulation, change and development. The puzzle is comprised of photographs of objects related to the geology of the present: stones and different construction materials in their last stage, before they are tossed to the trash, are given a platform/shelf. They are photographed separately in order to maximize the points of view; their surface receives meticulous physical treatment and in the next stage they are sewn together to create a space and a fabrication of “a place”.
 
The laws determining the scale and the relations between the components are autonomous, as are the numerous perspectives, derived from the arrangement of the puzzle pieces. Thus, the space created is overrun with different points of view devoid of any photographic or optical hierarchy of center and periphery. I am interested in severing and manufacturing a new syntax of incidental and significant; a reality in which things exist in an environment presented to the viewer’s gaze, a representation that talks of representation, and a fictitious fabric in a space that has a different capacity of time. What was once a singular photographic moment duplicates itself into multiple tenses and presented as a place that holds within itself a history in the present tense, an urban laboratory under the sovereignty of independent constitution system of time and space.