Hello David and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
Hello and thank you for your interest in my work.
My work during the recent years has evolved around social issues and urbanization. I presume my photographic language provides a reflection of the scenes I examine and interpret based on my personal identity.
I find myself intrigued by notions such as social integrity and the underlying desires which influence the social activity. This is often evident on urban grounds.
I also realize that an intriguing artwork should be open to multiple interpretations and should provoke questions. I look to highlight the root matter, following the infamous quote made by 18th century German philosopher, Gottfried Wilhelm Leibnitz, "…You know a lion by its claw." Whilst the quote has nothing to do with either art or photography, I find myself fascinated by its wider implication. In short, I'm on a quest for the lion's claw. It drives me to seek the base characteristics that suggest the notion without overwhelming the viewers’ senses. An interpretation that avoids banality and gently guides one to look at the scene from a less obvious point of view.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
I always had an artistic inclination and talent for drawing and photography. I did not attend a formal art school and for many years I photographed for a hobby. Then at some point of life, I took several theoretical photo workshops with prominent fine art photographers and had started with self education. I deeply appreciate the long personal guidance and mentoring by a prominent Israeli fine art photographer and curator Etty Schwartz. So, yes I'm an autodidact.People show interest and enthusiasm towards my work. I have rather humble presence on social media, where I do receive encouraging feedback. More important is that curators and prominent photographers appreciate my work and provide positive feedback.
I'm glad that I was successful in producing my recent art project "Reliquarium", as it takes a lot of rigorous work to produce something out of nothing.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
I have been influenced by many contemporary photographers. The strongest impact I can relate to is the conceptual approach of the Düsseldorf School of Photography, Kunstakademie and obviously the works by Bernd and Hilla Becher. I also relate and appreciate the work of fine art Israeli photographers Gaston Zvi Icowicz in his work "Settlements", and Gilad Ophir in his work "Necropolis". Icowicz and Ophir excel in their attentive observation of "place" and demonstrate an ability to conduct a unique dialogue with the scene, demonstrating observation that is being able to captures signs and remnants of occurrences. The common attribute about their work, which I admire, is their ability to focus on the subject, in way that exposes esthetic, political and emotional complexity. I often find myself thinking how to employ their view when being challenged to convey similar being on site.
The last name of an artist I am deeply moved by is the great master Hiroshi Sugimoto, I don't have enough words of admiration for his work.
Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
In my work "Reliquarium", I am dealing with a specific aspect of the Israel's national history. I try to show how it is seen by the phenomenon of providing a second life to military objects by installing them at playgrounds and other public spaces. I had realized that there is an abundance of such true size and raw military objects installed in the urban space. But the inhabitants of that local space demonstrate an indifference to the cultural significance of the monuments that symbolize glorification of the military.
I had also realized that these monuments require a certain blindness, a particular refusal to be aware of their true meaning.
After all, these objects are innocent. Taken one by one they could so be constructed. Taken together they could be regarded as witness to an interpretative plot, innocence and arrogance in equal parts. What is installed in front of us dictates the meaning.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?