WASHINGTON, DC.- Born in Tel-Aviv, Israel in 1967, Ori Gersht now lives and works in London. He studied photography at University of Westminster, and the Royal College of Art, London and has since become one of the most significant photographers and film-makers of his generation. Gersht observes the boundaries between man and nature, focusing his lens on the liminal territory where the two meet and often clash. On exhibit at The Hirshhorn Museum 22 December through 12 April, 2009.
The artist’s work encourages viewers to reflect on the power of natural beauty and how it is affected by human intervention. In “The Forest” (2006) the camera pans a lush, primeval forest. Sound alternates with silence and suddenly a tree falls to the ground with a thunderous echo. The departure point for this work seems to be the conundrum “if a tree falls in a forest, and there is no one there to hear it, does it make a sound?” But other questions emerge: Who or what is causing these trees to fall? Is this a statement about nature and inevitability, about proverbially missing the forest for the trees, a commentary about deforestation or a metaphor for loss? Or is it perhaps an exercise in anticipation? “The Forest” is soothing but also becomes increasingly mysterious.
Ori Gersht Time After Time: Blow Up No. 3 , 2007 Light Jet Print mounted on aluminum - Edition of 6 204 x 149 cm.The exhibition also includes two flat-screen works: “Pomegranate” (2006), installed next to the entrance to the Black Box on the lower level, and “Big Bang II” (2006), a recent acquisition. These works reference traditional Spanish and Dutch still-life painting in which precise arrangements of foods, fruit or flowers are shown at their peak, implying the inevitability of decay. These metaphors for the brevity of life are termed “vanitas.” Gersht fast-forwards the impending threat of demise. His imagery does not decay by dissolving over time; it combusts and then, in the type of slow motion used to depict extreme violence in feature films, recalls the time-lapse imagery of Harold Edgerton’s scientific action photography. Gersht updates the concept of vanitas by creating meditations on how violence in contemporary life is often random, anonymous and unpredictable. Triggering a visceral response, these films translate the experiences of the artist’s fear-filled childhood in Israel into provocative statements that have global resonance.
Within Jewish tradition, the pomegranate is ripe with diverse myths and allegories. The Bible cites the pomegranate as one of the seven fruits and plants characterizing the fertile land of Israel; and according to folklore, the pomegranate contains 613 seeds, the number of commandments in the Five Books of Moses. The Hebrew word for pomegranate is used as both the word for the ornaments adorning the Torah scroll and a homonym for hand grenades. The colors and textures of Gersht’s video, which the artist achieves without digital enhancement, intensify on screen after the fruit explodes. Similarly our eyes remain fixed on televised acts of violence despite the impulse to look away.
His imagery does not decay by dissolving over time; it combusts and then, in the type of slow motion used to depict extreme violence in feature films, recalls the time-lapse imagery of Harold Edgerton's scientific action photography. Gersht updates the concept of vanitas by creating meditations on how violence in contemporary life is often random, anonymous and unpredictable. Triggering a visceral response, these films translate the experiences of the artist's fear-filled childhood in Israel into provocative statements that have global resonance. Visit the Hirshhorn Museum at : www.hirshhorn.si.edu/
SOURCE: Art Knowledge News
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