Ofra Lapid‘s series’ Broken Houses’ is all about process, a meta – process, as she transforms an image into a physical object and then back into an image. It’s a rather obsessive act that began with a search for photos of dilapidated structures on the internet.
She found her muse in North Dakota, a photographer who spent their time taking pictures of ruined buildings, abandoned structures, places neglected by their owners and left to be destroyed by the elements. With these photos Lapid reconstructed each of the abandoned buildings as small-scale models and then photographed them in a studio omitting their context, their place. The results are beautiful and a testament to obsession and the interesting ideas that come to the surface through the act of transformation. Here’s what Lapid has to say about her work:
The point of departure for my photographic works is in images found on the Internet. I browse around the virtual space in search of raw material. The main subjects of my research are domestic environments and various architectural structures, as well as routine cityscapes. The images at which I point are those of the unusual, bizarre, fantastic, catastrophic, tragic, poetic, funny, surreal; ones which were free to download. The use of web-based images gives me the freedom to appropriate both image and context, namely the story behind it, the subject matter.
I enjoy manipulating the original photograph: erase; cut, copy, and paste; print; create crafty models; build something broken; create an illusion; change the meaning; emphasize something from the past (of no obvious relevance); photograph a photograph; enlarge something that is very small; meet new people; discover remote parts of the world; be in many places at once; humanize the computer; settle conflicts. Art for me is a good way to resolve the relentless conflicts existing in everyday life. It is a way to communicate, respond, and negotiate every thought, every action, every lasting desire.
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