Untitled ( From the exhibition Gray Concrete) || Limited Edition 1 of 5 (+ 2 Artist Proofs) Photograph

Liat Elbling graduated with Honors ​from ​the Departments of Photography at ​"​Minshar​-School of Art​"​ in Tel​-​Aviv. Recipient of the Constantiner Prize for Israeli Photographer (2011) and Sotheby's Under The Hammer Prize at Fresh Paint art fair (2013).Recent solo exhibitions include ​Closer ​Than Ever​, Artelli Gallery, Antwerpen( 2016), Things As They Are, Julie M. ​Gallery, Tel​-​Aviv​ (2015), Attacks on Photography​, The Open University ​Gallery​,​​ ​Tel​-​Aviv​ (2013), Photography ​prize ​exhibition​, ​​Tel​-​Aviv Museum of Art​ (2011). ​Additionally her works have been included in exhibitions such as ​5th Moscow International Biennale, Russia​ (2016), Intangible Beauty​, ​kasher Potamkin ​Gallery, New York​ (​​2014), My Safe Reduction to Form​,​ Exile Gallery, Berlin​ (2012). Alongside her artistic work, ​Liat is a lecturing at the Department of Multidisciplinary Art Shenker College ​(Israel​)​​ and at Hamidrasha School of Art, Beit Berl College​ (Israel​).​ ​ My work Photography is the core of my artwork. It is my medium of choice, my means of expression, but more importantly, photography (as technique, medium, and act) and the photograph (as product and object), are the subject matter and content of my work. My work examines the values of photography, whether the photographs are about architectural structures, plates, or flowers; I have employed these as tools in my reflections on photography. Our world has undergone a major perceptual paradigm shift in recent years. The change from an analog to a digital environment has changed in the way we look at and organize our individual space, its physicality, its accessibility, and its material aspects. I work in a digital world and respond to it, and technology represents for me not just a means but also the subject of exploration. From the beginning I have used digital technology in my photographic work. In a 3-year-long project I photographed houses around the country, then digitally erased their openings. Certain details have been deleted from the original photographs, and others were inserted instead. The treated houses became opaque, offering no prospect of real life and only uncertain access. Later on, the houses were separated from their original surroundings, left "naked" on new grounds, with an added element of reflection. The houses have undergone a transformation from "home" to "object.