Whispering To Venus
Language shapes our perception of reality. It lets us describe, reflect and recreate. Past histories, both independent and collective, are shaped and formed in our perception. Whispering to Venus searches for a new language of reality, one that in its creation rewrites itself, self-referential in its technological reinterpretation of art history’s iconic works.
This work is a collaboration between an algorithm and myself; multiple images and perspectives of the same subject are taken and fed into an algorithm originally designed to merge images of landscapes into a single panoramic image. The act of introducing a body to this process results in a confused and often glitched reality: failed attempts to read the body as landscape and disassociate from the portrait, results in inconsistent and at times merciless reconstructions. Venus, printed in their negatives, references the tradition of photography itself. Negatives develop and expose an image, while these images impose themselves onto their surroundings, transparent and influenced by what lies behind. They depict the multiplicity otherwise lost in my singular and captured gaze. In doing so, I switch places with technology. The algorithm gains autonomy over the image, and I become its apparatus.
I am examining the root of image making, at its most fundamental, questioning our vision. Flowers triptych, a study of Vincent Van Gogh’s Sunflowers, examines the photography at its most primary, stripped down into red, yellow and blue, positive and negative. It offers a surreal hyperrealism, in which we refine each singular element, before beginning its reconstruction.
Technology translates digital information into a new visual field. It has become digital in its rendering: a visual binary translated into three-dimension. Whispering to Venus (Self-portrait as Venus) utilises a mobile 3D scanner to capture myself posing as Venus, after Botticelli’s iconic painting The Birth of Venus. This information was fed into another algorithm and used to reconstruct the image as a sculpture, 3-D printed in a polymer dust that references the traditional Ancient Greek sculptures. The image glitched and fractured. The apparatus point of view is inorganic and ruthless in the process of mechanical assembly. The countless angles were not always resolved and thus created extra limbs. I emerge from myself, appearing to whisper, caught in these perspectives, in the process of creation.
School of Arts & Humanities
MA Photography, 2018
Whispering To Venus
Technological advances heavily impact the field of photography, sculpture and art in general. The manipulation and collaging of images, 3D body scans and modeling software enables me to more clearly articulate and portray my experience, vision, understanding, narration and in this case, to comment on the contemporary gaze.
I am questioning the contemporary gaze of the body by a collaboration between myself and a computer algorithm. The works I create are autonomous; multiple images and perspectives of the same subject taken across time are compiled and connected through an algorithm to render a single form offering a new detailed way of viewing the human body, through multi-faceted and complex perspectives not possible to capture in a single image. This approach casts an analytic and distant point of view, alienating the audience and drawing into focus clearer questions of aesthetic, reality, culture, boundary, politics and art history. The mercilessness of the algorithm and the 3D modeling software – the apparatus point of view – is an inorganic, ruthless point view that rewrites art history and questions our gaze.
- MA Photography, Royal College of Art, London, 2018; BFA Photography, Bezalel Academy of Arts and Design, Jerusalem, 2012
- He is the 2016 recipient of the prestigious Clore Duffield Foundation - Bezalel Scholarship for a Masters Degree at the Royal College of Art, a fully-funded graduate grant valued at over 70,000 GBP; Itamar Freed’s works are in private and public collections worldwide- JPMorgan Chase Art Collection, The Clore Duffield collection, The Estee Lauder art collection, Lauren & Mitchell Presser collection, USA State department (Art in Embassies).
- Sculpture By the Sea Bondi, Bondi Beach, Sydney, 2018; London Nights, Museum of London, London, 2018; Solo Exhibition, New Works ,Pulse Miami, Miami Beach, Florida,2017; Solo Exhibition, VOLTA NY, Pier 90, New York City, 2017; Solo Exhibition, Floating, Bilpin international ground for creative initiatives (BigCi), Sydney, 2017; Solo Exhibition, Birds of Paradise, Gitler &___ Gallery, NYC, New York, 2015; Solo Exhibition, No Time, Ramat-Gan Museum for Israeli Art, 2015; Christie's Auction House & Grosvenor House, BFAMI 70th Gala , London, 2017; Solo Exhibition, Birds of Paradise, Feinberg Projects Gallery, Tel Aviv, 2014; Group Exhibition, Offprint ,Tate Modern, Turbine Hall, London, 2018; NordArt 2018, International Art Exhibition, Büdelsdorf, 2018; Whispering to Venus, Royal College of Art, MA Photography graduate show, London, 2018; Group Exhibition, NOF, Provender Building, London, 2018; Group Exhibition, Imaginary Spaces, Mana Contemporary, New Jersey, 2017; Group Exhibition, Hope, AZA 13, Jaffa, 2018; Group Exhibition, Manhood, Litvak contemporary, Tel Aviv, 2017; Group Exhibition,Haifa Museum of Art, Haifa, 2017; Group Exhibition, NordArt 2016, International Art Exhibition, Büdelsdorf, 2016; Group Exhibition, Musrara Mix, Musrara gallery, Jerusalem, 2016; Group Exhibition, ArTi Fair Galleries at Tiroche, Herzelia, 2016; Group Exhibition, NordArt 2015, International Art Exhibition, Büdelsdorf, 2015; Group Exhibition, Journey between the Stars, Musrara gallery, Jerusalem, 2015; Group Exhibition, Bread & roses, Castiel Gallery, Tel Aviv, 2014; Group Exhibition, The International Photography Festival, 2014; Group Exhibition,Tel Aviv Photo, Tel Aviv, 2014; Group Exhibition, Surface currents, Feinberg Projects Gallery, Tel Aviv, 2013; Group Exhibition, OBJECTS, Spaceship, Tel Aviv, 2012-2013; Group Exhibition, UNDER, Bezalel Gallery, Jerusalem, 2012
- He is the 2016 recipient of the prestigious Clore Foundation - Bezalel Scholarship for a Masters Degree at the Royal College of Art, a fully-funded graduate grant valued at over 70,000 GBP; Award winner of $10,000 for an artist to exhibit at Sculpture By the Sea Bondi, Bondi Beach, Sydney, Australia, 2018; Shortlisted for the 2018 Tiffany & Co. x Outset Studiomakers Prize, London; “EPSON” first prize Award winner for excellence in the art of photography, 2012; Shortlisted for the Athens Photo Festival 2018; Artist in Residence - Bilpin international ground for creative initiatives (BigCi), Bilpin, Blue Mountains, Australia 2017; Shortlisted for the Royal Photographic Society International Print Exhibition 159; Shortlisted for the Athens Photo Festival 2015