THE OWLS ARE NOT WHAT THEY SEEM
"longing for sight" is an installation containing a long dark space you walkthrough led by the sound and guiding lines into to a dome where you are surrounded by video projection
וריאציות על עשרת הדיברות | הנפש היא זו שרואה עיתון הארץ. מאת שני ליטמן
Exhibition text/ Avi Pitchon
In a tradition of postmodern critique and in inspiration from Jacques Lacan, we ask what is it that the seen is hiding,
and what blind spots are created, intentionally or otherwise, by the conventions of the visual? Are visual blind spots
related to emotional ones? What is it that we distract ourselves from seeing?
This encounter captures an intuition. The spoken word, present as an audio “trail” translates and mediates that fleeting yet ever-present depth, a void of realization that is visible in the visual as trails, hints – signs left behind of that which is desirable, following Lacanʼs ʻObject Petit aʼ.
Precluding sight invites the observer to transcend mere spectatorship; leave a mark, engage and entangle.
Our invitation of the viewer to lose sight, therefore, also expresses the desire to push photography beyond eye-seeing. The photographic work is presented as a continuous stream of images, a mix & match playground based on the infinite possibilities of interlacing one thought to another.
This process contains no exclamation points. Each slowly unfolding photographic stream moves according
to its own inner rhythm. The tempo is subjective, not declarative. This work-process and its particular look and feel reflects the desire to limit, blur and otherwise interfere with normal eyesight in order to attain that elusive,
subtly subjective (and thus intuitively honest, truthful, close to home) quality of movement, tone, and volume – a culmination of softness; the softness that unveils behind from, or is trapped by a misleading sharpness.
This process led us to abandoning the visual towards the touch and towards the sound. Seeing becomes sensing.
The blinding white origin filled with a whiteness vibe is expressed in the “light hole” at the heart of the exhibition.
The structure of a white dome (alluding to snow blindness, but also to the barren lunar landscape and to the shape
of the eyeball) reveals a confined, secret space, flooded with light. Within it, images corresponding to this overwhelming whiteness are screened on the domeʼs inside. Here, the journey to the source is completed.