About (further reading)

My Journey with Light

My path with photography started when I was fourteen years old, in the quiet darkroom of the Carmit boarding school in Jerusalem. For three formative years, I spent hours watching images slowly appear in the developing chemical trays. That quiet ritual shaped my intuition and created my lifelong connection with light. Since then, I have always looked at my camera as a "Cage of Time", a tool to stop the constant drift of reality and freeze moments forever.

 

The Creative Drive: Fracture and Fate

The deeper engine behind my art comes from a direct fascination with human helplessness against the rigid laws of fate, time, and the quiet breaks in our everyday existence. I look at my work as a personal, psychological attempt to give a visual shape to a quiet outcry, the feeling of a confined soul searching for a way through the dark toward the light.

 

Inside and Outside: My Two Worlds

My photography moves between what I build in the studio and what I discover in the streets. I use these two different worlds to talk about the same psychological feeling:

• The Inside (Studio Work): In my studio, I build physical, three-dimensional sets and staged still-life scenes. By using simple, loaded materials, shapes, and strict boundaries, I try to distill personal feelings of isolation and memory into clean, controlled images.

• The Outside (The Urban Space): During the quiet hours of twilight and the Blue Hour, I take this same psychological view out to the city streets. Using long exposures of 12 to 15 seconds, I search for lonely buildings, shelters, and empty public places. I am fascinated by the quiet pulse of these spaces, capturing human presence through its deep absence.

 

Science and Freedom

I graduated from the Technion with a degree in Electrical Engineering. This scientific training gave me a deep understanding of physics, geometry, and technology. When I photograph, this translates into a mathematical precision in how I sculpt light across the high-resolution Foveon sensor of my Sigma camera. This unique sensor gives my images a sharp, raw, and heavy material quality. I am an independent, self-taught artist, which allows my visual language to grow freely, far from rigid institutional rules.

 

Rare Prints

For me, photography is a deep internal need and a therapeutic act aimed at provoking thought, rather than a commercial business. Because of this, I create only rare, individual physical prints of each work (limited to 2–3 copies). I print each piece personally on museum-quality archival Fine Art paper, keeping the image as a precise, one-time material witness in time.​​​​​​​​​​​​