Unquestioned, as the name of the project implies, was my attempt to stop and put a question mark on certain aspects of Israel, the place I grew up and lived in for 26 years. Israel was built fast, a new country with an old history. There was a need to pour content into the empty desert landscapes. We came back from a diaspora around the world and in an act of copy and paste we’ve rapidly filled the missing. I was interested in human engagement with nature and urban environment. I photographed the landscape of Israel, which was hastily urbanized within a span of a century. I photographed in places or environments infused by collective dreams of an aspired reality, yet baring traces of a temporary or transitory reality, sense of deterioration and human signs of atrophy. I constructed and staged each frame, often applying technical processes in post-production as a means to accentuate a state where symbols replace what they represent.
The importance of the spaces I photographed was the surreal or mysterious question mark they create. In Israel question marks are dangerous; they might affect the legitimacy of having a Jewish state in the Middle East. If you doubt one aspect of the country you might as well doubt it all. My main interest wasn’t political, but cultural. I photographed places and spaces that seemed like someone is trying to recreate a reality in a new place by copying it from an existing realty in another. The tennis/basketball court in the desert, or the multiplicity of plants in pots, it seemed to me as if we are cloning the appearance but lacking the sensitivity to adjust to the place we are applying the process to.
As a photographer I suspected that the origin of many of these unfitted spaces and places are in photographs. It seemed to me that photographs carry partial instructions of how to recreate a reality, yet they carry mainly the facade with them, and the facade is what I found mismatching Israel as a place in the Middle East. Therefore I’ve used photographs to put a question mark.