“I have actually seen people contemplate their navels.”
John Heilpern

Conference of the Birds



Two days ago there was an intimate performance in Shahar’s garden where there is a 60 square-meeter stage. One of the solo performance was by Shlomit. Shahar told me she called a day or two before the performance and asked if she could take a part in the performance and Shahar welcomed her.

This was the first time I saw Shlomit perform (or at all for that matter) – it was a moving performance and I felt drawn to abstract images that were formed by the high contrast of her moving body and exposed skin within the black costume and settings.

[slidepress gallery=’shlomit’]

The performance was an important one for me. It came after long months of hard work with less open and blessed interactions. The camera wireless setup broke down before the performance – and it took some time to get fixed – during this time I was thinking of staying out of the performance. I felt lost and disassociated in my creative work. This was a cherished reminder that (1) it is not really in my hands (2) it takes talented people and (3) space and patience to let moments of improvisation appear and crystallize. I got some great supportive feedback after the performance … I needed it.

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These images were taken during a walk I took in fields near our house. In a way it was a new beginning because I had not wandered out with the camera in hand for a long time – I still don’t. I usually feel lost in the world with the camera in hand. This time I went out to challenge that concept.

This occured  shortly after an intense three month project with Shahar ended. I was carrying with me a question, which comes up often, about my relationship to the people and work I encounter when in Shahar’s bubble (which is where I have spent most of the last two years). My first impression is that I am some kind of a parasite. What can I do with the camera without other performers doing their work? What images would exist for me?

[slidepress gallery=’wandering’]

With this in mind I went for a walk. These images are technically extreme, they were taken in low-light conditions, in which I pushed the camera into extreme settings and then (shortly after I arrived home) used a heavy hand in post processing. I felt I was fighting something.

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Beautiful Flowers


This occurrence is a reminder to me of the amazing potential of improvised work. This session took place during preparations for the final performance of Shahar’s Tune-Barcelona workshop.

[slidepress gallery=’beautiful-flowers’]

I was busy preparing all kinds of technical things for the performance when Sophie came up to me and asked if I can join her, Africa and Judit in the bathroom (you get used to these kind of question when working in improvised settings). They wanted to incoporate a projection of images into a piece during the performance. When I completed some of the other tasks I was doing, I took the camera and headed in their direction.  These images were born during a magical 10 or 15 minute session. I then went to the computer, downloaded the pictures from the memory card and within 20 minutes more completed to select the 32 images that were presented during the performance. This was the first time that I completed a work, including digital post-processing in the performance space and within the bubble of the actual piece.

Beautiful Flowers Installation

I am creating an installation through which these images can be experienced. The installation will be a space in which people can travel a linear course that takes them through the story portrayed in the printed images. The installation is divided into zones – a zone includes one or more printed images. The zones are used to establish an interactive system of light and sound. Interaction is achieved through proximity sensors that can detect the presence of people. When people enter a zone the lights in that zone are activated to reveal the images (the rest of the space is as dark as possible).

The core idea for sound in the installation is that there is a complete audio piece playing the background. It is made up of tracks. One track is a constant base-ambient track that is always playing in the space. The tracks are also associated with Zones. In effect when a zone is activated the track that is associated with the zone is also activated (volume turned up?). The result is that the sound that is heard throughout the entire space is shaped by the presence of people in the space.

The physical setting of the installation has yet to be determined – the wish is to relate to qualities of the work while provising a solution that can be constructed and transported with ease so that the installation can travel to numerous locations around the world.

I am seeking people who can help realize this work: a sound artist, a lighting and multimedia programming artist, funding and a location that will host and produce the first installation.

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