Foreground Background / Shir Lusky and Neta Cones, Omer Tiroche gallery, Jaffa, 2017
Curator: Orit Bulgaru
"Rear Façade” is a architectural term refers to the back of a structure, which is usually hidden at first sight. When using this term in the dialect of photography it brings to mind the depth of field, which stretches between what appears on the front and what is seen in the background of the photograph. The Duo exhibition by Shir Lusky (b. 1988) and Neta Cones (b.1988), examines the form and material of the photographical subject at the front, the ornamentation, the transition from three to two dimensions and the affiliation between sculpture and photography.
In Cones work “RockPaperScissors (2017)” she uses photographic paper as a sculptural raw material. The work consists of three layers of photographs, which emphasize the division into the front and the background of the photograph. The upper layer shows a photographic collage. The central object of the collage is an elongated stone-like shape that was created during a drilling in a house wall, which is made of layers of gravel and cement. This is an X-ray view on the inside of the wall - exposing the hidden and expanding the field of view, as an allegory of the act of photography. The focus on the stone, in its rich terrazzo texture - which is followed by the collage - gives it an imaginary inner quality, perhaps due to its absorptive capacity that holds in the memory of the house in which it was located.
The research of the sculptural aspect is also found in the works of Shir Lusky, although it appears in some other way. Her subjects are mostly organic objects with a distinctly formal appearance, that ended one life cycle and were left behind after use. Lusky's camera is attentive and sensitive to accidental encounters with the object. The collection of daily encounters invites sensitivity and attention on the part of the viewer, who recreates that of the photographer, their initial collector, and asks us, the viewers, to rethink their use, the abandonment and the revival of the objects.
In collecting the objects as evidence, and photographing them in a sterile studio space, Lusky explores the possibility of reviving the objects by creating a new connection and space for them. A look at her photographs reveals a constant preoccupation with basic shapes, The familiar becomes what seems to belong to another order. This is how Lusky turns our gaze to the geometries that are hidden in our daily life.
The exhibition bring us to think about the transition from the physical presence of the object to its transition into a picture, from three-dimensional to two-dimensional; There is a tense line between the objects and the space in the photograph, between the front where they are placed and the background, similar to the space between the photograph and the observer.