Offer Goldfarb's Projects

Since I am not pleased with reality, particularly in our chaotic world, I created my own reality and voice. Beyond my personal realities, references to existential despair emerge. Hence, the houses in my work question the saying "my home is my castle". However, the horizon lines in my work express hope. By exploring various media, genres and disciplines, I could fully express my voice. All my work is based on my own photos. The light and shadow on the surfaces of my collages are produced by a system light of a state of the art scanner. My purpose in using the scanner was to enhance the feeling of 3 dimensions – as appropriate to render a sense of reality. Each work is about 60x90 cm. Work in my project: (The captions with inverted commas are from "for" by Shervin Hajipour) #1 For this polluted sea. #2 "For yearning of just normal life". #3 For the hope to return safety home. #4 For preventing the desert getting into our houses. #5 "For the never ending tears". #6 " For this polluted air". . #7 "For the nerve pills and insomnia". #8 "For the house in rubble". #9 "For the girls wishing they were boys". #10 For your daughter begging you to stop.

I have twin brother (the two trees in picture 2), therefore I am always interested in identity questions and in the border between me and others. Since I am not pleased with reality, I created, in my project, my own reality. As I worked from intuition and instincts, I didn't know in real time what I was doing, except for the fact that I searched for my own voice in a chaotic world, while connecting with my brother, friends, artists I love, and nature. In the last two years, I created two series, at the same time. My series were like two non-identical twins: Same age, different shape. When I realized that the two series had the same personal language, I combined them into one series. I decoded the symbols step by step. for example: The tape in 2, stands for the connection between my brother and me, while the plastic tape next to the sea in 4,6 reflects social critique. Image 8 dedicated to Ronnie, my friend I lost. Image 10 is an ilustration. The girl will be craved into wood. I wonder what Amnon, my brother, would say, so as the viewer.

This surrealistic series is based on my dreams. As such, one may not search for much reason in these works. I belong to the second generation of the holocaust. I do not afraid from another Hitler. The use of wood material to describe people hints to my opinion on the german people of that period. My series deals with private symbols associated with the holocaust (with Nazi figures), and art history (E.g. from Hopper, Leonardo, Morandi, Magritte, Holbein), using personal language. My reference to art history is in line with my interest in the borders between me and others. The same is valid to my artist friends Osnat and George, who made the ceramic and wood objects. My goal in this series is to portray visual surprises, based on my symbols, offering much space to the viewer. Few of my images may prove to be a bit confounding for the viewer. This is deliberately done, as my surrealistic series has not much control exercised by reason.

My series is about identity. As I have twin brother, I always interested in identity questions and in the borders between me and others. I create works of art in order to find or create my inner voice. I worked entirely with my own photographs (e.g. photographs of houses, portraits and close ups of tapes). Most of my houses are apartment's houses - similar to the houses I lived in most of my life. My houses stand for identity, as if one has problems in one place, he can escape to another house in a better place. Apartment's buildings function as a way of both uniting and separating people. Most of my works inspired by other artists, e.g. Bernd and Hilla Becher, and Eli Singalovski. It's in line with my interest in the border between me and others The people in my images are friends, family and colleagues. I introduced people in my series, to explore the concept of identity—the boundaries that separate us from one another, and the bonds that tie us together. The tapes at the basic of the works stand for bond and healing but also for disturbance, My aim in this project is to express unrest, discomfort and continuous search for identity, in a chaotic world.

My streets include humans, animals, plants and human-made traces. With all the living and not living components – my aim was to compose surprising and ambiguous visual stories – about the streets of my city, while keeping the essence of things.

I like the unresolved experiences, including dreams. Maybe one day someone will invent a printer that can print dreams. Meantime, I have Barbiro.

The works are stories about Ronnie – my unforgettable late friend. Each work is an attempt to convey a portrait of him, leaving space for the viewer. Thru Ronnie's world, I wanted to touch the human condition – our place in society and how we are contained. The project is entirely based on my own photographs. (e.g.: portraits or close ups of colored tape). The houses in my series stand for identities: I created imaginary different houses in imaginary different places, as if one has problems in one place, he can escape to another house in a better place. Identity problems were shared by Ronnie and me. I always interested in identity questions and the borders between me abd others. My 2020 collages is attempt to encounter dream-like worlds, influenced by different visual media and genres. By creating conflict between harmonic form and eclectic content, I tried to express unrest, discomfort and continuous search for identity. Ronnie made suicide at 2016. I took photos at his apartment one week after he died. Now on the left of each collage of the project.

This is a group portrait. Like people, there are no two identical plants. Yet, there are always similarities too.

Usually, a photograph is taken in a very short fraction of time, and I think the time a viewer looks at photograph is shorter compare to other visual media. (e.g. Painting). In this sense, it seems to me that my final image of sixteen photographs, put together as Time-Space Layers, has a quality of painting.

I photographed children who do not know me. I was intrested in how their shyness and embarrassment will be reflected in the photos. The outcome fascinated me. I also photographed grownups I know and was also interested in the outcome of their behavior - the relaxed ones as well as the embarrassed. In all the photos I have used soft light which illuminated the subjects from the side to accentuate volumes and textures. The children photographed are the sons and daughters of my work colleagues. The photos were taken in the children's homes. The light source was always a window situated outside the frame. The children were asked to dress in pastel colors so that the costume will not compete with the child himself. The background was always an empty wall which meant to accentuate the subject. The grownups are my work colleagues. The photos were taken in a kitchen at work which was transferred into a studio. I have used black background to distinguish the illuminated subjects. Reflector reflected speedlight light from the side and the ceiling was used as a reflector to another speedlight.

I photographed children who do not know me. I was interested in how their shyness and embarrassment will be reflected in the photos. The outcome fascinated me. Their vulnerability was like a mirror to me. My main concern was to photograph a single isolate child, but I was also interested in capture relationships between brothers or sisters. I was moved more by the photographs of girls. (Maybe it reflects the feminine part of me). The children photographed are the sons and daughters of my colleagues. The photos were taken in the children's homes. The natural light source used was always a window situated outside the frame. The children were asked to dress in pastel colors so that the costume will not compete with the child himself. The background was always an empty wall which meant to accentuate the subjects. Open aperture was used to help creating soft atmosphere.

Attempt to condense reality into visual shapes, such that reality still can be distinguished. (The name SKYTEC is for sky-architecture).