Ohad
Matalon

One of the central endeavors of my work in recent years has been to interrogate and reimagine the modalities through which photographic works are both presented and perceived. This exploration aims to craft experiences that confront the viewer with the fragile and transient nature of contemporary images and their ontological standing, while simultaneously subverting and reflecting on the commodification of artistic photography. In recent years, I have increasingly employed the interplay between the negative and positive of the same image in various processes I am developing. This technical dichotomy serves as a foundation for images that probe the tensions inherent in contradictions and dualities. By navigating the delicate balance between presence and absence, my work engages with Merleau-Ponty’s concept of perception as an intricate interweaving of seeing and knowing, suggesting that the act of viewing is fundamentally intertwined with the interpretation of meaning. This approach invites a reevaluation of how images mediate our understanding of reality, revealing the ways in which they shape our perceptions and experiences. Echoing Derrida’s notion of différance, my exploration delves into the continuous deferral of meaning in photographic representation, prompting viewers to consider the paradox embedded in the relationship between the real and the represented. In this context, the juxtaposition of the positive and negative transcends mere visual duality, becoming a vehicle for articulating the inherent ambiguities of existence. Through digital manipulation, I seek to establish a dialogue that resonates with Deleuze’s ideas on the multiplicity of perspectives, where the boundaries of representation blur, inviting profound reflection. This method fosters a more engaged contemplation of how our understanding of the world is constructed and transformed, unveiling the delicate beauty in the act of seeing and the narratives that unfold within each image.