STATEMENT



The human body and the machine have always intrigued me. I am fascinated by the affinities between body- and illness-related processes,

 and processes associated with machines and substances. In some respects, our body is also a machine. 

I seek the points of convergence between them, which spawn exciting revelations.

Photography serves me as an experimental laboratory for deconstruction and reconstruction of images and thematic concerns. In my work, I conduct 

a dialogue with traditional photography, poetry, painting, and body work. Through them I delve into the essence of the imprinted image, using imagery extracted from various sources, such as X-rays, books, newspapers, road maps, etc. In recent works I have combined photography with diverse materials. The materials, too, are a significant part of the process, at times dictating an idiosyncratic language all their own.

In recent years, the scanning process has become my main artistic vehicle. Unlike the camera, which is perceived as the natural extension of the human eye, attesting to subjective observation, the scanner functions as an objective, unbiased eye, so to speak. I use a variety of scanners, from standard image scanners, through slide scanners, to 3D scanners.

The images entice me, like secrets which I must decipher. At the beginning of the process, I often confront them without rational understanding, and only at a later stage is their essence revealed to me. Their lure stems from their visibility and the narrative that each image brings with it. In one of my early bodies of work (2015–16) I printed various images on paper not intended for printing. As a result, I lost control over the appearance of the final image. Some of the images originated in a collection of hemorrhages I photographed, indicating an intricate link between the image itself and its mode of representation in an ostensibly technically inferior print. The hemorrhage image itself resembles an abstract painting. Due to the type of paper used, the printer, too, creates "hemorrhages." This is an example of a fundamental process in my work that binds the material transformations and the narrative innate to the original image. Another example of this modus operandi is discernible in a later series I featured in the exhibition "Epidermis" (2019, curator: Smadar Sheffi), where the raw material was scabs, which were placed on paper and transformed into "celestial bodies" by means of the cyanotype technique. In the next phase, the cyanotype surfaces were scanned and turned into a digital collage, which was printed on large photographic paper. 

This, too, exemplifies a connection between the material's processing and the chosen image.

I continue working with products of various physical examinations, such as analogue X-rays, which I print using cyanotype, assembling them into new images. The body is only a point of departure for these images. Mechanisms of disease can sometimes become a way of encoding a new aesthetic language that communicates with other content worlds.