TZIKI EISENBERG
  • work
    • manipulated Images
    • Stodio work 2012-2020
    • Warnings and disasters
    • Molotov project
    • Old/ Masters
    • Trip (2013-2019)
    • roots (2019)
    • Barrow (2018)
    • All around 2012-2020
    • works 2005-2012 >
      • Beit mahsir (2012)
      • The Searchers (2006-2012)
      • Salech (2006-2011)
      • The eternal chance (2005-2008)
      • Clear Echo (2006-2011)
      • Cities of refuge (2010)
    • Collage
    • my studio
  • EXHIBITIONS
    • Jointed - leg
    • Road
    • Trip
    • Survival Kits
    • Confetti
    • sticks and stones
    • 3 Birds in the basement
    • Winter sweat
  • About
  • pablications
  • contact
  • work
    • manipulated Images
    • Stodio work 2012-2020
    • Warnings and disasters
    • Molotov project
    • Old/ Masters
    • Trip (2013-2019)
    • roots (2019)
    • Barrow (2018)
    • All around 2012-2020
    • works 2005-2012 >
      • Beit mahsir (2012)
      • The Searchers (2006-2012)
      • Salech (2006-2011)
      • The eternal chance (2005-2008)
      • Clear Echo (2006-2011)
      • Cities of refuge (2010)
    • Collage
    • my studio
  • EXHIBITIONS
    • Jointed - leg
    • Road
    • Trip
    • Survival Kits
    • Confetti
    • sticks and stones
    • 3 Birds in the basement
    • Winter sweat
  • About
  • pablications
  • contact

STUCTURED AREAS

3 DIMENSTION TO 2D
2 DIMENSTION TO 2D
SOLO OBJECTS
My aim is to create an image that struggles against its own materiality. As much as the objects represented are tactile and rouge (created through crude sculptural acts), so does the final image labour to be “professional” and seductive.

This work requires multiple steps of object making and photography. While creating the objects I use the simplest of materials - magazine cut-outs, ready-made objects, wooden sticks, hot glue, home improvement materials, plaster, polyurethane foam, etc. The types of materials used and their treatment creates a feeling of randomness and incidentally. The next step of photographing is much more rigid. Each object is paired with a specific lighting and backdrop, chosen to accentuate the relationships between the elements and emphasize materiality, colorfulness, and contrast. The photographic act renders the original object redundant; it is discarded and its installation unraveled. It is as if this act physically “captures” the object, granting the illusion of a coherent landscape beyond itself. The photograph serves as the sole record of what transpired.