[ EPF 2015 Finalist ]
We have a rectangle in which we keep reassembling the world. It’s a fantastic tool; it fixates what’s in front of the camera and also what’s behind the camera. It is an objective picture in subjective viewfinder. Through photography we are re-framing our memories, fantasies, thoughts and our reality.
I try to find a new shape, which will be more accurate and fitting to the time because photography keeps changing and constantly crosses a new pain threshold, because the world changes; especially nowadays, when we get a huge number of diverse visual information.
I increasingly inclined to think that the only document that can enclose the realistic feeling it is emotion, a pain that comes to being through some conflict in frame.
In this series I create some conditions without a special event, without specific time and place. This space aimed at the creation of pure sense, where less important to understand, but more to feel. I perform a kind of ritual and this ritual creates a basis for a conditional reality.
People in this series are in their rented apartments. I see them as kind of inconspicuous survivors of today, torn apart by typical modern reality, where they are between livelihood and studies, banks and dreams, trends and personal style, fashion, news and war, and so on.
It is unclear whether they are awake or going to bed. There is state of sticky enveloping sleep and insomnia. What is life? Is it a dream, an illusion or a long jump from nowhere to nowhere? This series it’s like a song that’s about the beauty and drama that can be noticed in everyday routine life; poetics of enclosed spaces.
With all the strangeness of the picture, for me it feels familiar and real, more natural and alive. I wanted the weirdness of the image would resonate with the weirdness of the world. It’s like understanding what’s beautiful only after viewing what’s ugly.
Originally, I’m from a small town Pyatigorsk in the North Caucasus of Russia. From the first meeting with the world of photography, I felt that the reality and the image in the photograph are very similar and at the same time different, the world in the viewfinder seemed like mine. At the age of twenty I moved to Israel. The type of photos I’d shoot back then was very different from today. I took many nice photos whose only essence was formative aesthetics, and maybe a little surreal. Another pretty picture and another pretty picture? I had a feeling I’m going over the same mistake and every time I felt that I’m missing some important element. The change of view on photography came during my studies in Bezalel Academy. One of the interesting things I learned is the understanding that, with time, photography changes, that the view towards photography as a media changes, as well as its value.