06.11.2012 in19:35 in Creative,photoart -->
Photography is the core of my artwork. It is my medium of choice, my means of expression, but more importantly, photography (as technique, medium, and act) and the photograph (as product and object), are the subject matter and content of my work. My work examines the values of photography, whether the photographs are about architectural structures, plates, or flowers; I have employed these as tools in my reflections on photography.
Our world has undergone a major perceptual paradigm shift in recent years. The change from an analog to a digital environment has changed in the way we look at and organize our individual space, its physicality, its accessibility, and its material aspects. I work in a digital world and respond to it, and technology represents for me not just a means but also the subject of exploration.
From the beginning I have used digital technology in my photographic work. In a 3-year-long project I photographed houses around the country, then digitally erased their openings. Certain details have been deleted from the original photographs, and others were inserted instead. The treated houses became opaque, offering no prospect of real life and only uncertain access. Later on, the houses were separated from their original surroundings, left “naked” on new grounds, with an added element of reflection. The houses have undergone a transformation from “home” to “object.” The resulting photographic illusion has apparently preserved the principles of visual order of the original raw materials but placed their intrinsic value and functional quality under question.
In later projects I implemented digital language through the use of material means. In the Holes series, I photographed objects such as plates, tablecloths, and wall paper. I then cut out the prints, placed them one on top other to create volume and re-photographed the new compositions. The multi-step process allowed me to deconstruct and reconstruct the image while observing the order and logic of looking at a “straight” photography.
In the series For Each Time I Wanted to Leave I made pictures of flowers which I then took apart and recombined in different ways, using hot glue. In the non-photographic glass piece Blue and Green I sought to capture the essence of a landscape by material means. The piece consists of two glass plates, fused together at high heat, and a wooden frame, but appears to have been created digitally.
I experience the world today as non-material, and my choice to go back to working with physical materials raises interesting fundamental questions about their and my essentiality, history, and existence.