© Copyright 2017 Dorit Feldman 

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ABOUT

"As a conceptual artist educated in the late 1970s on expanding the boundaries of visual languages to span the expressive possibilities of conceptual art, land art, and body art, I conceived of a praxis that synthesizes these languages. While conceptual art is traditionally characterized by frugal expressive means, I chose to enrich the range of materials and methods of visual expressions. The choice of an expanded metaphoric language merges several fields of meaning to create something new. The new creative process that emerged evolved from one work to the next, through self-quotation and the use of every phase as a readymade (as per Marcel Duchamp's formative notion) incorporated into subsequent photographs to form a series. To my mind, the possible value of photography as art in the digital era is that of perception – correspondence with the cultural space of other creative thinkers in the realms of literature, cutting-edge scientific research, and philosophical texts as sources of conceptual inspiration for my imagery. In the series of photographs on the subject of mapping, I chose to quote ancient prints and etchings of maps by scanning the originals and using them in the concrete space, on the surface and on the photographed depth layers. Moreover, the principle of concise, scientific mapping is discernible in the works; mapping of the human heart, the brain, the eye, and the genome as DNA attest to perusal of reality, indicating personal imprints / seals embodied as formative-transformative images in the works over the years. As a multidisciplinary artist engaging in sculpture, painting, and photography, I chose to emphasize the "depth of the photographic paper." The verbal paradox – as indeed depth cannot be attributed to two-dimensional paper – serves to emphasize the contained potential of digital data. The practice by which the works are created is anchored in the rhizome theory developed by French philosophers Gilles Deleuze and Félix Guattari, which has been central to contemporary cultural discourse. According to this concept, reality is akin to a network structure; a web comprising a series of interconnected objects which intersect at nodes, whose multiplicity, in turn, results in a more intricate network. Rhizomatic thinking is multivalent. It is underlain by infinite changes and metamorphoses, evolutions and expansions. Their homogeneous combination spawns a stratified, documented and symbolic image of the world on a single surface." 

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