The installation deals with the Israeli multi-cultural collective, which creates a distant artificial experience. In a world that seeks local integration. The action of flattening and duplicating abolishes the individualism of the Israeli identity search and creates a collection of anonymous people.

The origin of the work are photographs that I took at different sites in the Old City of Jerusalem. These photographs document different situations in the life of the Jewish Quarter; tourists photographing soldiers, a policeman guarding a Christian Religious Ceremony, a loving couple resting on a typical Jerusalem wall…each photograph is individual and part of the whole, simultaneously. By translating via the photographs to a digital language and duplicating them.

By means of reproduction, different shapes are created, sometimes geometric, sometimes amorphic, that create sensory overload, that does not let the eye of the viewer rest and provides an endless stimulation.2

The computer generating process, which the images have gone through, creates a global environment that disconnects from the personal story and specific identity of the place. The atmosphere which is created in the space is an atmosphere with a Christian religious character that combines within ornaments from the Islamic world that is created from photographs from the Jewish world.

Contrary to paintings, which cannot be duplicated, I have chosen to use modern means of technology that allow copy the installation – the only original in the work to any place and in that way the installation is endless.


1“Heder” can be translated from Hebrew as either “a room” or “a class for studying Judaism”

2“The Work of Art in the Age of Mechanical Reproduction” by Walter Benjamin, 1935