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In the body of photography lies an essence of touch. Light touches a medium to which it is sensitive and reacts with the appearance of an image on the film or paper, which is then processed and fixed with the touch of chemicals.At this moment in time, touch is everything and nothing to me, it is real and fake, it is sensitive and cruel, it is scary and wonderful. 


The spaces in which I work alternate between the house where I grew up and the house where I now live in the city of Haifa, which is also my studio and darkroom. 


A photographic archive of images created by my grandfather before and after immigrating to Israel from Germany serves as a bridge through movement and time, through past and present, through Berlin and Haifa, communicating across five generations.


In my work, using a variety of techniques - traditional and new - I explore and play with possible manifestations of touch and memory. Working with large format, contact prints with phone screens and digital scans. I reassemble still-life in my home-studio as I photograph my relatives, in an ode to the old German way of image-making and staged photographic portraits. Using these techniques, I move along a range of control of the final image: from total control of the process, to working in the dark in a state of blindness, until the final image is fixed, still blurry in its final form.


Closeness and distance are present in the work in their physical sense but also in relation to memory and erasure. At this time, when reality swings between what exists and what is made up,  the option of catching or grasping something real is doubtful. When what exists distances itself from the unseen, to the point of losing touch with reality. 

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