Volumes of water will never quench Love
I have been photographing stills since 1989 and through this medium I am able to expose the sensitivity of multiple meanings and visual insight.
1997 summarized a phase in my life experience as an artist and creator. I skilled in photographing and not being recognized, but at the same time doubts began evolving concerning the intrusion and interference with the private space of my anomic photo subjects. The record of this process was in the sumer of 1997 whereby I was shooting a documentary film :
Peeping on the lord . The film focuses on the segregated and separated Orthodox beach in Tel-Aviv, that is reserved for people that live a religious life style.
In 1998 I graduated from the film and television department of Tel Aviv University, and i embarked on my journey in the field of directing and filming documentary films. Making movies and video reports changed my approach and style in still photography ; The location of the act of shooting, the approach towards the photographic object and the way I use the camera changed the meaning of photography for me. The fact that in my daily routine I was dealing with films and a video camera caused me to use my still camera in an opposing way. As a result my photography became more experimental, running from the masses, exploring oneself in a deeper way. Voyeurism and peeping changed into night photography and underwater still images.
Nature in motion is an experimental experience I have with my photographs, Its a process in which I try to check the limits of the photographic image towards itself and towards other mediums, especially painting. Even within the technological era I still tend to stick to old fashioned negatives or slide photography. I dont use computer programs for image manipulation, any manipulations I do only occur during the photo process. The slow and delicate process concerning the negative or slide imagers reveals a halo.
In my choice of photography there could be something romantic and naive. I am aware that it comes from my alienation and resistance towards the mass production and the shallow references we have in our society. I am still looking for that mystery found in an old reflex single lens camera. A medium dating back over the past 150 years and in it each single frame has a chance to be unique and one of a kind.
I photograph a lot at night, always after midnight, and I love to photograph in the water. The shades and the blue sky are caused by strong light caused that comes from the rays of the moon.
Water is necessary surrounding for balancing me. Photographing underwater has created many new opportunities for me. I prefer to use the natural light provided, the light rays break differently in the water. Contrary to other underwater photographers that tend to focus on coral and fish I on human beings in swimming pools like : underwater wrestlers and rugby players, yoga karate, water therapy as well as babies, pregnant women and more.
The camera is meant for water, the lens gets into focus only if it feels fluids on it. I also like to go and shoot in different water surroundings : the Dead Sea, Red Sea, Mediterranean Sea, fresh water, and many local swimming pools where the chlorine impacted on ,my skin.
In these conditions I combine my work themes from the journalistic and world news where the photographer is passive in his attempt to catch a moment, and the artistic way to approach the subject where the photographer is active in his attempt to create a new world. In the past I used to look from the out side for my photographic stimulation, in the present days the urge to photograph comes from an attempt in escapism from the daily routine and the usual surroundings of my society.
The four elements : earth. air. water and fire are the first and basic materials. Through the elements I can observe the relationship between light, movement, material and time.
I wish for this book to deal with photographs and the photographic language therefor I chose photographs for the above four from different points of view :
The directing photographer : This means that the people who are been photographed are aware of the photographers presence and they are requested to act according to the photographers desires. In this phase of photography, the moment of photographing will be prepared according to the timing.
The unseen photographer, the missing camera man : The people who are been filmed are not aware of the fact that they are been photographed, the photographer should use the light and location provided for him. The crucial moment in this situation is when the photographer decides to click and shoot with its aim towards catching an authentic moment.
The photographer who is being photographed : A self portrait of the artist who deals with himself is something basic in the history of art. When the photographer photographs himself he can control the set and the location, the light material and even the framing. What he cannot grasp or catch is the decisive moment of the click and shoot. This moment disappears and changes and becomes a mystical moment.
Nature shooting without humans : The attempt of a single man to grasp within his camera the supreme power and godless visual bliss looks like a race already doomed from the start, this is why nature photographs are harder to produce, but the possibilities for shooting nature provides the camera man with numerous challenges. They provide an opportunity to get connected to ones non verbal senses and ons dialog with Mother Nature, creator of the world.
The book is being actualized in the first exposition I have out side of Israel. In May 2006 a show of mine called ; Volumes of water will never quench Love will be exhibited in a private gallery in Berlin Germany, in am area known as Mitte. Mitte is located in an historical area which after the Second World War used to be the center of East Germany. Today Mitte is an updated trend area that reveals German efforts to change and be different.
Mr Rodolf Darenberg was open enough to see my portfolio and he was also brave enough to invite me to exhibit in his gallery.
The different nationalities and the historical scars forced both of us to process personal self healing sessions, dealing with the private and public memory of our ancestors, and aimed to focus on and deal with the feelings of the guilt that is inside us and the mutual feelings of sacrifice.
I feel proud of myself that I achieved something like this and that my exposition does not speak about the banal, half automatic regular themes between Jews and Germans. Within my photographs there is not any resemblance of memory of the political patriotic aspects. 60 years after the war, the words I have to say with my photographs tend to aim towards multi-nationality and culture. I would like to see myself as man of the world, who is capable of identifying between private individual consciousness and collective patriotic identification, which castrates the free thinking, and creates a one dimensional situation, which erupts in times of historical weakness of the collective.
I believe that this is a new stage and a way to form dialogue between Israelis and Germans in the 21 century.
Only if we make the dialogue happen, we can work towards a modern cultured society, which not only sits and eats away the past but opens our hearts towards the future without anger or bitterness of the acts that a parents did. Mutual compassion, honesty and an eye to eye dialogue is needed towards the stranger for our process of changing.
Spring 2006, Berlin / Tel- Aviv
1997 summarized a phase in my life experience as an artist and creator. I skilled in photographing and not being recognized, but at the same time doubts began evolving concerning the intrusion and interference with the private space of my anomic photo subjects. The record of this process was in the sumer of 1997 whereby I was shooting a documentary film :
Peeping on the lord . The film focuses on the segregated and separated Orthodox beach in Tel-Aviv, that is reserved for people that live a religious life style.
In 1998 I graduated from the film and television department of Tel Aviv University, and i embarked on my journey in the field of directing and filming documentary films. Making movies and video reports changed my approach and style in still photography ; The location of the act of shooting, the approach towards the photographic object and the way I use the camera changed the meaning of photography for me. The fact that in my daily routine I was dealing with films and a video camera caused me to use my still camera in an opposing way. As a result my photography became more experimental, running from the masses, exploring oneself in a deeper way. Voyeurism and peeping changed into night photography and underwater still images.
Nature in motion is an experimental experience I have with my photographs, Its a process in which I try to check the limits of the photographic image towards itself and towards other mediums, especially painting. Even within the technological era I still tend to stick to old fashioned negatives or slide photography. I dont use computer programs for image manipulation, any manipulations I do only occur during the photo process. The slow and delicate process concerning the negative or slide imagers reveals a halo.
In my choice of photography there could be something romantic and naive. I am aware that it comes from my alienation and resistance towards the mass production and the shallow references we have in our society. I am still looking for that mystery found in an old reflex single lens camera. A medium dating back over the past 150 years and in it each single frame has a chance to be unique and one of a kind.
I photograph a lot at night, always after midnight, and I love to photograph in the water. The shades and the blue sky are caused by strong light caused that comes from the rays of the moon.
Water is necessary surrounding for balancing me. Photographing underwater has created many new opportunities for me. I prefer to use the natural light provided, the light rays break differently in the water. Contrary to other underwater photographers that tend to focus on coral and fish I on human beings in swimming pools like : underwater wrestlers and rugby players, yoga karate, water therapy as well as babies, pregnant women and more.
The camera is meant for water, the lens gets into focus only if it feels fluids on it. I also like to go and shoot in different water surroundings : the Dead Sea, Red Sea, Mediterranean Sea, fresh water, and many local swimming pools where the chlorine impacted on ,my skin.
In these conditions I combine my work themes from the journalistic and world news where the photographer is passive in his attempt to catch a moment, and the artistic way to approach the subject where the photographer is active in his attempt to create a new world. In the past I used to look from the out side for my photographic stimulation, in the present days the urge to photograph comes from an attempt in escapism from the daily routine and the usual surroundings of my society.
The four elements : earth. air. water and fire are the first and basic materials. Through the elements I can observe the relationship between light, movement, material and time.
I wish for this book to deal with photographs and the photographic language therefor I chose photographs for the above four from different points of view :
The directing photographer : This means that the people who are been photographed are aware of the photographers presence and they are requested to act according to the photographers desires. In this phase of photography, the moment of photographing will be prepared according to the timing.
The unseen photographer, the missing camera man : The people who are been filmed are not aware of the fact that they are been photographed, the photographer should use the light and location provided for him. The crucial moment in this situation is when the photographer decides to click and shoot with its aim towards catching an authentic moment.
The photographer who is being photographed : A self portrait of the artist who deals with himself is something basic in the history of art. When the photographer photographs himself he can control the set and the location, the light material and even the framing. What he cannot grasp or catch is the decisive moment of the click and shoot. This moment disappears and changes and becomes a mystical moment.
Nature shooting without humans : The attempt of a single man to grasp within his camera the supreme power and godless visual bliss looks like a race already doomed from the start, this is why nature photographs are harder to produce, but the possibilities for shooting nature provides the camera man with numerous challenges. They provide an opportunity to get connected to ones non verbal senses and ons dialog with Mother Nature, creator of the world.
The book is being actualized in the first exposition I have out side of Israel. In May 2006 a show of mine called ; Volumes of water will never quench Love will be exhibited in a private gallery in Berlin Germany, in am area known as Mitte. Mitte is located in an historical area which after the Second World War used to be the center of East Germany. Today Mitte is an updated trend area that reveals German efforts to change and be different.
Mr Rodolf Darenberg was open enough to see my portfolio and he was also brave enough to invite me to exhibit in his gallery.
The different nationalities and the historical scars forced both of us to process personal self healing sessions, dealing with the private and public memory of our ancestors, and aimed to focus on and deal with the feelings of the guilt that is inside us and the mutual feelings of sacrifice.
I feel proud of myself that I achieved something like this and that my exposition does not speak about the banal, half automatic regular themes between Jews and Germans. Within my photographs there is not any resemblance of memory of the political patriotic aspects. 60 years after the war, the words I have to say with my photographs tend to aim towards multi-nationality and culture. I would like to see myself as man of the world, who is capable of identifying between private individual consciousness and collective patriotic identification, which castrates the free thinking, and creates a one dimensional situation, which erupts in times of historical weakness of the collective.
I believe that this is a new stage and a way to form dialogue between Israelis and Germans in the 21 century.
Only if we make the dialogue happen, we can work towards a modern cultured society, which not only sits and eats away the past but opens our hearts towards the future without anger or bitterness of the acts that a parents did. Mutual compassion, honesty and an eye to eye dialogue is needed towards the stranger for our process of changing.
Spring 2006, Berlin / Tel- Aviv
