Oasis is the result of a small experiment of carving complex textures in wood and sand casting. It aims to create a feeling of a tiny section transported from a desert and into your living room. In the near future it might become a small-production-series project.
The Analog Voice Interrupter (or in short - AVI) is an experimental instrument aiming to mechanically imitate an “Indian Shout” - a voice manipulation often made by children with their hands. The instrument’s speed is controlled manually by a simple potentiometer.
Digital Fabrication in Analog Hands (2017)
In the autarkic studio, the designer sits alone with his 3D printer and prints all his needs. But what if he feels a need to touch the material? Work it with his own hands? His entire practice depends on the printer and there are no other materials around. What is he to do? Instead of using it as a means for creating the actual objects, he will use it as a means for producing raw materials meant to be processed by hand. He will print a brick of material and treat it as he would a wood panel, aluminum profile or a piece of fabric.
Ten Years ago, the 3D Printer joined the designer's toolbox, and now it is considered one of the most important tools for the independent designer who works alone - since supposedly, it can't replace an entire workshop. In this piece, I wished to integrate the 3D printing process and at the same time reintroduce craft and handmade qualities into the studio. The work therefore describes a new relationship between a creative freedom and a technological means that allow infinite diversity and the production line based on seriality - all these come together in the figurines whose shape is anchored in the history of art and craft.
The work was presented in "Autarkic Studio" exhibition as part of the Jerusalem Design Week events, Hansen House, Jerusalem, June '17.
Many programs and word processors use an automated dictionary in order to locate spelling errors. These automated dictionaries notify the errors by marking them with a zigzag red underline. As anyone who has tried to use these types of programs knows, they are far from perfect, often identifying a correct word as an error simply because they don't "know" them. This zigzag red underline - symbolizing the imperfect aspects of technology and its true inability to fully understand or mimic nuances of language and culture - is the center of this piece.
First shining red stickers, simulating the said digital line, were used to mark words appearing in public spaces. These words were identified as errors by the Word MS software even though they were clearly correct. Out of the 3000 street names in Jerusalem, 900 were identified as containing an error. The signs were then photographed for documentation purposes, which in turn revealed a rather interesting issue: the photographs of the signs were much more convincing as the work of a computer program, meaning an error the computer had identified in the photo – and were a lot more convincing than the actual marking of the signs in real life. This proves that the media through which we consume the image is highly significant: the moment we observe the red line on a computer screen it becomes much more plausible and logical within the context, while in the real life sign the red line requires further contemplation.
The work was presented in "OOPS" exhibition in Hansen House, Jerusalem, April '15.
Self-Portraits Machine (2013)
To what extent can a person describe himself wholly and accurately? The question of man's ability to know reality as it is has repeatedly come up along the history of human thought and has been discussed thoroughly in philosophic writings through the years. One of the most prominent stances on the subject is that any form of consciousness is reductive, meaning it reduces and narrows the outer or inner reality - all the more so any attempts to describe objects of consciousness such as artistic expression. The purpose of this piece isn't, therefore, to create a self portrait, but to create a generic self portrait – a portrait dealing with the possibility of man to create a truthful portrait. The dripping of ink drops into the water creates complex multi-dimensional shapes which slowly expand, a kind of living Rorschach inkblots. In every fraction of a second a different shape can be seen in the bottle, never repeating and ever-changing, which makes the attempt to accurately describe them impossible. This to me reflects the subjective perception of self – it is complex, it is multi-dimensional and it never ceases to change. Observing the other is like looking at clouds: the image revealed to the eyes of the observer is in many times dependent upon himself – his imagination, his values, his desires and his personality.
The work was exhibited in "Up(to)Date" exhibition, Hansen House, Jerusalem, December '13.
"He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening mine". (Thomas Jefferson)
The purpose of this piece is to give a three dimensional expression to the idea that information is a form of order, and therefore can be duplicated (unlike matter or energy, which cannot be duplicated) – like the flame in Thomas Jefferson's allegory. This is an attempt to visually demonstrate the basic, radical difference between the physical world and the digital one. Using magnetic poles to express Boolean values (0 and 1, true and false, black and white) a kind of two pixel matrices was created – pictures, in other words – which can copy and duplicate each other at the blink of an eye. First, one must create a pattern on one matrix by arranging the pixels and fixing them into place. When pressing the "open" matrix to the "locked" matrix the pixels will magnetically flip over and adjust themselves to match the pixels underneath, thus copying the pattern from the locked matrix. (It is important to mention that using the qualities of the magnet to code information is common for many digital mediums – from VHS tapes to hard-drives. This is actually one of the major technological breakthroughs leading to the personal computer revolution.)
The work was exhibited in "Up(to)Date" exhibition - Hansen House, Jerusalem, December '13; Benyamini Center, Tel Aviv, January '14.
Loving the Big Brother (2012)
Objects for human integration in the great digital network. Like: a smart shirt that counts the number of slaps on the back of its wearer; Follow: an overhead view mirror, that allows one to beautify for the documentation of satellites and security cameras; Profile: a customized color ring; Tag: a sticker for identifying faces from different angles.
The work was presented in "Up(to)Date" exhibition, Hansen House, Jerusalem, December '13.
Tools Symmetry Research (2011)
A morphological research of the relations between symmetry and functionality in working tools. The full document can be viewed here.
Self Repairing Objects (2010)
Series of objects which seek to chart the impairment potential as a critical point inherent to the object, and draw from it the required technology of repair: a black plastic bucket that has lost its metal handle, gained a new handle incised out of its thickened rim; a broken clothes peg regained its functionality after it was sliced in half and reassembled; a backless chair was answered by the chair’s sitting surface, shortened and displaced to the back support area; a legless coffee-table gained a new prosthesis, an interesting morphological grouping of the ends of the other legs. In all scenarios the objects served as experimenters repairing themselves by themselves. In each individual case it was made sure that the functionality of the original object is preserved, and also its entire image. In their new appearance, the objects essentially contain the complete metamorphoses: spoilage, defect and a process of resurrection. This course of action is distinguished from customary design improvisation processes: the improvisation here is confined to an engineered, planned and disciplined process.
The work was exhibited in "Under Repair" exhibition, Bezalel Gallery, Tel Aviv, September '11.