Eran Tsafrir’s work, predominantly photography, photography-based installations and moving-image, deals with the way destiny, fate and circumstance shape the lives of individuals, communities and societies.
Tsafrir works with untrained sitters, still-life objects and landscape elements – in many cases from his and his sitters’ immediate surroundings. A realistic image of a subject, on colour film, using available light without filters, not manipulated or retouched, is where the work begins. Then, moving away from the original indexicality, and challenging the inherent two dimensional limitation of the photographic medium the work takes the form of diptychs, triptychs and polyptychs and often incorporates materials such as fabric, newspapers, stone, sand, mud and cement, as well as sound and light. With its mimetic essence intact, the initial image is thus placed within a newly formed subjective setting, often marked by historical, political and legal references, charging the final piece with tensions between the personal and the social, and between what is, or appears to be factual and staged fiction.
Developed over two and a half decades of largely autodidactic experimentation complemented by practical and theoretical formal training, and inspired by undergraduate and postgraduate education and background in contextual legal studies, aesthetics, European Union structures and law (at Warwick and Cambridge universities and in the City of London), Eran’s practice seeks to illuminate the interrelationships between art and the real-world social, political, economic, religious, ethical and legal contexts in which it is made and displayed.
Eran’s manifesto driven initiative conteXtism promotes the creation and display of artwork that seeks to unravel the complexity, intricacy and multi-dimensionality of prevailing human and social reality and the forces that shape it.
For more information, email: