"The Last Stand"
by Hagai Frid
_____________________________________________________________________________________
This series was taken on the northern border of israel tow years after the 2006 lebanon war, in an attempt to find testimony to the chaos that place was.
Nothing is left, except for the open view and the border line which is now almost unnoticed. the search for concrete objects led me to a dead end.
What's left from the war zone is an inviting pastoral view. as time went by and i continued my search in the region, I began to find visual remains of the war in landscape shapes and foreign objectsthat triggered a memory like a "momento mori".
This is a documentation of a winttry period which required patience and staying in one place, hoping to capture the right moment. using a 4x5 camera close to the lebanese border and somtimes right on the fance, an action requiring that the photographer cover himself in a black cloth disconnecting him from the environment, creates a feeling of entrapment- to cover yourself in order to see; the photographer, however, stays exposed to the viewer and to the people on the other side of the border.
And so, the photographs convey a pastoral and quiet view, which looks familiar and tempting but at the same time strange and foreign, threatening and oppressive, a place where time remains still, frozen.
The work is in progress.
by Hagai Frid
_____________________________________________________________________________________
This series was taken on the northern border of israel tow years after the 2006 lebanon war, in an attempt to find testimony to the chaos that place was.
Nothing is left, except for the open view and the border line which is now almost unnoticed. the search for concrete objects led me to a dead end.
What's left from the war zone is an inviting pastoral view. as time went by and i continued my search in the region, I began to find visual remains of the war in landscape shapes and foreign objectsthat triggered a memory like a "momento mori".
This is a documentation of a winttry period which required patience and staying in one place, hoping to capture the right moment. using a 4x5 camera close to the lebanese border and somtimes right on the fance, an action requiring that the photographer cover himself in a black cloth disconnecting him from the environment, creates a feeling of entrapment- to cover yourself in order to see; the photographer, however, stays exposed to the viewer and to the people on the other side of the border.
And so, the photographs convey a pastoral and quiet view, which looks familiar and tempting but at the same time strange and foreign, threatening and oppressive, a place where time remains still, frozen.
The work is in progress.
Road 91
