My camera lens is an extension of my mind’s eye, and my unique artistic angle of nature, the way I perceive it, through my camera lens, is very important to me.
I appreciate the places I go to, the spontaneity in every shot, and take great pride in capturing the true spirit of the moment when I photograph.
I welcome you to relate to the emotions and the energy that I felt when I took the shot as if you were present there with me.
I specialize in artistic aerial photography of Israeli landscape.
Nature’s changes and its disappearance and renewal are topics which interest me as an artist who experienced some personal crisis. I chose the vantage point of aerial photography which I then ‘re-connect’ with the ground through imprinting on ceramic porcelain tiles, metal, and other materials.
This vantage point of aerial photography allows me to combine two of my great passions: flying and photographing.
The aerial photography is taken mainly from a light, twin-engine plane, Air Cam, which has been developed and adjusted especially for National Geographic.
The perspective and the high angle present a broad vista of powerful and fascinating Israeli landscape in which seasonal, geological and ecological changes take place. I find inspiration in the amazing palette of colors nature uses in order to ‘paint’ the landscape of Israel.
I document the dissonance between the remarkable landscape texture and the seasonal ecological process of the land and highlight the changing nature goes through in order to achieve a new ecological balance, thus letting the region go on surviving.
Thinking what the best way would be for me to bring nature as seen through my eyes into your surroundings, I decided to apply my PhotoArt on various materials (i.e. fabrics, ceramics, metal, etc.)
This allows art and practice to join The special process makes it possible to use my PhotoArt in everyday life for both business and home environment.
My work shows the land as it has been naturally transformed into striking geometric formations, lines, and patterns. The organic nature of the land in each image becomes abstracted through the aerial perspective and the patterns that can be seen from that height. I accomplish my goal by composing and juxtaposing these organic structures – layered on top on one another in a way that compresses space and removes all context and sense of scale.
The compositions become like another world where natural beauty is transformed to become new visions of earthly structures.
These seemingly imaginary worlds remove the viewer from their commonly understood vantage points of eye level and you take them into more surreal worlds by presenting a view from high above. The high vantage point serves to combine, layer, and transpose surface features onto the ground.
I create compositions that promote feelings of order from chaos. By moving and removing the context of the subjects the images become very abstract.
I put the viewer in a position to speculate what (or where) it is they are seeing. Because of this, the images evoke ideas around vantage point, perception, and imagination.
Somehow my photos communicate ideas about reality and the way reality can blend with a dream reality. In this way there is a sense of change, danger,
and a fluid movement into alternate realities.
The textures, shapes, forms, and patterns appear to be organic-graphic elements on the page, prompting the viewer to ask questions about the locations. The photos blur the line between photography and compositional, poetic design. These visual abstraction and colors are important characters in my stories.
I am also asking that the viewer be sensitive enough to look deeply at my images, to see the details in the same way I saw them when making the photos.
There are strong visual threads that clearly run through my portfolio and the first one is “color”. My photography seeks to capture the magic that color can communicate. The way I use a combination of earthly and jewel colors speaks about the mysteriousness of the structures as they rise out of chaos (or nature). I use color as a transformational, alchemical tool to transmute what I see into what I would like others to see. Other threads are lines, heavy textures, and multiple patterns. In all of the photos the vantage point is from high above, as though the viewer was a ghost floating over the land.
Another major thread is abstraction. These photos are deeply mysterious because they are so abstract. Because the subjects in these photos are not immediately identifiable, I capture images that go straight to the viewer’s imagination. For example, every single photo is dramatic, rich with possibility and evoke feelings of curiosity. My juxtaposition of visual elements makes the photos visually poetic. I ask the viewer to reason why certain structures have been composed to form visual relationships with other structures – much in the same way we might see in a dream.