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Gretta Sarfaty

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WEDDING PICTURES 2012/2013
I review the photo album of my first wedding: pages are scanned and translated to digital format to be assembled in groups of two to create a single picture. In the process of reshaping a younger image of myself I am reclaiming the past to reveal my identity. I use digital manipulation to alter private and public perception of the “self”. The “still” performance deliberately intends to express the dichotomy of gender/person within the society. Overall this photographs act as a mirror where the projection of myself doubles creating an optical illusion of normality. This process of repetition extrapolates the subject from its context: the dualistic concept between past and present within the esthetic composition.

This series is a reflection of my own approach on breaking social boundaries; my research in fact begins from my private life: Born to a strict Jewish family, I was subject to the Middle Eastern culture of oppressing women. I married young in order to escape from my family of origin. All what I did in the past was just antagonizing their morals without living a life of choice. My mother is the last bond to the past and now that she is in a vegetative state and about to die, I pin photos of my life on the wall with the feeling of living those events for the first time. I am re-appropriating a past I didn’t really live through, as it all was; I could see it than as clear as now, only a series of events that I chose trying to escape. For this exhibition I didn't feel the need to incorporate the concrete self-expression of the act of painting; it was enough a reference to myself in the form of the painting subject. I commission a painter who I found in the Internet, to produce five oil paintings that were the exact copy of my photos.

FAMILIA MEMORABILIS 2013
In the new series Familia Memorabilis I challenge the viewer with a paradigm shift between past and present, offering an otherworldly experience of the photographic reality, which would have normally been invisible to an audience.
My childhood family photos are a testament to the multitude experiences I lived and shared. My background, emotions, self-identity, aesthetic values and culture are influential elements; the psychological connection to the past, which it represents.

Photograpy as a medium has its own unique authority, confirming a reflection of our own approaching mortality. It arrest the flow of 'real time', so it continually presents us with an experience of the past. 
My new series preserves the moment, revealing ourselves with an awarness of time discontinuity: a paradox of death within the photographic visual image.



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