The unique photographic practice,“Divided Moment”, simultaneously captures the same event from two different angles.In other words, two out of a multitude of existing and possible perspectives of moments of reality. Besides being an aesthetic claim, it is also an ethical demand: observing reality as a “Rashomon” directs the observer toward a complex and multifaceted story wherein each character is entitled to attention; and directing attention to the other, whoever they may be, (and to those who are usually invisible) is an ethical act of the highest order. This dual observation enables totality (in accordance with Emmanuel Lévinas) – observation that identifies with rather than appropriates. When the photographers place just two possible points of view (their own) next to one another, the observer’s eyes dart between the two photographs, and he asks questions that he would almost certainly not ask if he were looking at a single photograph. Presenting photographs in pairs invites the observer to linger and study the details like a detective (something we are no longer accustomed to doing due to “visual identification”, the overwhelming, flattening flood of images).
Selected works from commissioned work in France, U.S and Israel.