


Regarding the Place & as After Action 5 1979-2015
B&W pigment print on archival. Fine art paper 83x60 cm, artist'scollection.

Regarding the Place & as After Action 4
1979-2014 B&W pigment print on archival. Fine art paper 30x40 cm, artist's collection
From the Body Art Series, 1980-2014
Pigment print photo on archival. Fine art paper, 80x40 cm, artist’s collection
I find the second Body Signature in the positioning of the hands. The palms are touching each other, always forming a somewhat full-closed circle. Often there is an object being held. There are also variations in this position: the hands may be close to the body or next to the chest, or at a distance, extended straightforward similar to the shape of an “arrow”. This Body Signature is portrayed in the series of works that we already saw and in the following pieces from later periods as well such as: “As Deep as the Silent Waves” (2001), and “Dreams Material” (2007). A similar position is found in the lower limbs, when the feet face and touch each other, thighs turned outward, or alternatively, knees are touching and close to the stomach. This is seen in “Regarding the Place & as After Action 1” (1979) and in “Thoughts Forms-Clarity” (2003).

Dreams Material, 2007
Digital print, 60x50 cm, private collection, NY, USA.

As Deep as the Silent Waves, 2001
Digital print, 150x75 cm, Shari Arison collection, Israel
The Third Body Signature identifies the way the position of the body is always seen from the front or the back. Sometimes one can just see the torso, or the entire body. However, we will never see it from the side. This is a Body Signature that exists throughout all of Dorit’s works. I will show them though these pieces: “Self Portrait Hawk” (1979) and “Self Portrait in Cup Phylacteries” (1979):
Self Portrait:
in Cup Phylacteries, 1979-2014
Pigment print on archival, fine art paper 87x40 cm, Nava and Ronny Disenchik collection Isreal.


Self Portrait: Hawk,
1979-2014
Pigment print on archival, fine art paper 87x40 cm, artist’s collection.
“Regarding the Place & as After Action 3” (1979), “Infrastructure for Alienation” (1980) and also in later works such as Life Line (2011) and in “Installation: Trapped in it in my ever-forming memory along with her” (2014).
The Fourth Body Signature is a body without a head. The head is absent, or for the most part, is hidden by an object of sorts. This is a typical signature of early works, such as “Body Art Self Portrait: Honey” (1978), “Body Art Self Portrait: Ficus” (1979) and “Leda and the Swan” (1980).

Body Art Self Portrait: Ficus (1979),
Cibachrome photo, 30*20 cm, Hani and Ofer Laron collection, Israel.

Body Art Self Portrait: Honey (1978),
Digital print, 60x50 cm, private collection, Tel Aviv, Collection of the SIP, Shpilman Institute of photrography Israel.
The fifth Body Signature focuses on the eyes and the gaze. In early works, the gaze is turned downward completing the curved position of the body and hands. In “Infrastructure for Alienation” (1980) –the hands and the eyes actually create, an additional sub-signature, which repeats itself later on.
Overt and Covert by Light, (1999),
digital print 60x50 cm,
collection of Orna and Avi Udvin,
Tel Aviv.


Infrastructure for Alienation (1980) combined technique on paper, B&W photos, 65x36 cm, artist’s collection.
Flesh Crowned by Light, 2006,
digital print, 60x50 cm, Sheila Perl Zonnenshein collection, CA, USA.