{"id":3606,"date":"2019-09-29T16:46:42","date_gmt":"2019-09-29T13:46:42","guid":{"rendered":"http:\/\/www.artsource.online\/?p=3606"},"modified":"2021-01-04T11:30:08","modified_gmt":"2021-01-04T09:30:08","slug":"taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari","status":"publish","type":"post","link":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/","title":{"rendered":"Taking A Portrait Of Time Itself: A Studio Visit With Sharon Ya\u2019ari"},"content":{"rendered":"

The craft of photography is often compared to the act of storytelling, and it is understandable why the comparison is so tempting to make. If in civilizations past a raconteur would sit around the fire and tell his fellow men tales of their own heritage, in modern societies photographers often take up the same role \u2014 they cast their gaze on a culture, hold the cameras to their eyes and through a click of their fingers, capture a moment in time that encapsulates the essence of the society they are part of.\u00a0<\/span><\/p>\n

Israeli photographer Sharon Ya\u2019ari has done just that over the decades, returning to the familiar landscapes of the country and documenting them repeatedly. But while his rich body of work does weave countless tales about this small patch of disputed territory in the Levant, Ya\u2019ari himself should not be mistaken for a storyteller. If anything he is an archivist of emotions, systematically and calculatedly turning his persistent gaze on local streets and fields until his eye yields from them exact sentiment that they evoke.\u00a0\u00a0<\/span><\/p>\n

His name has become synonymous with landscape photography thanks to timeless, iconic images the artist crafted over the years of Israel\u2019s countryside as well as eerie shots of abandoned nature. But the first thing Ya\u2019ari insists on telling me when I step into his studio in south Tel Aviv is that he is not a landscape photographer. \u201cEvery time I\u2019m told that I\u2019m a landscape photographer I\u2019m surprised. I think: \u2018What? Me? I have nothing to do with the landscape.\u2019\u2019\u2019<\/span><\/p>\n

\"\"<\/p>\n

Ramon Crater
\n2012<\/p>\n

The photographer says that the reason such shots have dominated his opus is that he is inadvertently drawn to simple, seemingly lackluster spots. \u201cThe arbitrariness, the day to day \u2013 I am very preoccupied by that. It\u2019s important for me to take pictures of places you wouldn\u2019t associate very strongly with other things. Not a burial site, not some holy site. It\u2019s very hard to find places like that in Israel; wherever you turn there is some monument,\u201d he explains.\u00a0<\/span><\/p>\n

And indeed, the scenes he focuses his lense on are such that one passes by every day: Quiet backyards, empty gas stations, intercity roads clogged by the early morning commute. \u201cI chose to go for this interim state where I take pictures of places that seem familiar but when you look at them you feel like you can\u2019t entirely recognize them for what they are. I want you to feel like it\u2019s just some random place, nothing special,\u201d Ya\u2019ari tells me.\u00a0<\/span><\/p>\n

 <\/p>\n

Getting used to the absence<\/strong><\/p>\n

Man\u2019s race against the clock is a recurring theme in the artist\u2019s work. On his road trips throughout the country, Ya\u2019ari finds himself driving back to the same places. Like a coroner at the scene of an accident, he observes the decay that weather and mankind force on natural habitats. \u201cThis is happening more frequently in more places in Israel,\u201d he observes.\u00a0<\/span><\/p>\n

As we sift together through his earlier works, he brings to my attention a photograph of a ficus tree that was planted outside a police station in Tel Aviv. Next to it, he points at a picture he took of the exact same spot years later. The tree had been uprooted, but remnants of its bark and sprigs remained \u2013 telltale signs of a living thing that once existed and suddenly disappeared. \u201cAt first it was a completely banal picture. But then someone decided to kill this tree. Look, these leaves are still there, they don\u2019t know that they are dead yet. I see something like that and I get excited. Suddenly, a photograph that was pointless is filled with meaning.\u201d\u00a0<\/span><\/p>\n

Ya\u2019ari says that in between snapping and juxtaposing the two images, he carried out a small investigation. \u201cAn entire scene unfolded. I went to nearby garages and asked the people working there: \u2018What happened to the tree?\u2019 and they answered \u2013 \u2018there was never a tree here.\u2019 This is about getting used to the absence, to the lack. To a vacuum that is created.\u201d\u00a0<\/span><\/p>\n

In another trademark snapshot of his, a black-and-white picture of Tel Aviv taken from above, the skyscrapers that were erected in the city over the years jut out, chipping at the skyline like insistent reminders of what the metropolis was once like when it was devoid of the buildings.\u00a0<\/span><\/p>\n

\"\"<\/p>\n

Tel Aviv
\n2006<\/p>\n

While other, more traditional photographers are in pursuit of a decisive, definitive moment, Ya\u2019ari is more interested in trying to strike a fragile balance between the beauty of what still stands and the loss that is gnawing away at his surroundings. \u201cIt doesn\u2019t come from an aesthetic viewpoint in the formal sense of the word,\u201d he says of his inspiration. \u201cIt is driven by a meeting point with a certain subject. I\u2019m interested in that meeting.\u00a0<\/span><\/p>\n

Sometimes I can stand in front of something and it kind of beckons to me \u2013 \u2018Come, take my picture.\u2019 And I do, but I know in advance that in most cases, nothing will come of it. But on the other hand some images seem banal, I don\u2019t even understand why I photographed them, but the passage of time charges them with meaning. Either something happened in that specific place [where I took the picture] or something happened within me when I look at it.\u201d\u00a0<\/span><\/p>\n

 <\/p>\n

\u2018Something has to go wrong\u2019\u00a0<\/strong><\/p>\n

Some of the photographer\u2019s later works, like the peaceful but surrealist \u2018Bridge with Flowers,\u2019\u00a0 sport strange marks that occurred when the development process went awry. Ya\u2019ari admits that he actually prefers them to the undamaged portraits. The best part of his work process, he says, is when the unexpected makes itself known and push him off the predicted path. \u201cSomething has to surprise me, something has to happen, something has to go wrong. Suddenly someone comes while I take the picture, a conversation starts, and my whole trajectory is changed.\u201d\u00a0<\/span><\/p>\n

A closer look at his crafts reveals that the flirtation with disaster or a looming end were always there. He delved into the theme of loss in his 2006 solo exhibition at the Tel Aviv Museum of Art, where he coined the term \u201cHope for Long Distance Photography\u201d and used the expression to describe a series of morose works displaying birds, trees and swamps that seemed to belong in a faraway land and suggested a slow separation from beloved territories.\u00a0<\/span><\/p>\n

\"\"<\/p>\n

Hope for Long Distance (Bird)
\n2006<\/p>\n

\u201cI wasn\u2019t afraid of the concept of time when I was younger, maybe I\u2019m more scared of it today. There is something about expectation and disappointment that is very related to photography, especially here in Israel. Every wave of immigrants that came here, from the 19th century onwards, experienced disappointment. There is something pleasurable about having this expectation,\u201d he reflects. \u201cThere is an expectation that I can\u2019t really fulfill, and it\u2019s related to the passage of time and the hope that is still harbored.\u201d\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Before we part ways, I ask Ya\u2019ari why he never takes photographs of the most intimate landscape: His own home. In reply, the photographer shows me a catalogue of candid and oddly moving works dating back to over a decade ago, which he named \u201c500 Meter Radius.\u201d\u00a0<\/span><\/p>\n

\u201cIf there is only one definition by which I would have to characterize my own work, it would be the return home. When I made \u2018500 Meter Radius,\u2019 it came from a very trivial trigger. I had a baby and he would wake up at 5 AM. I would take him out at 4:30 in the morning to let his mother sleep. We would walk together and I would go into backyards and take pictures. He was my alibi,\u201d he jokes.\u00a0<\/span><\/p>\n

\u201cThis is a very specific example,\u201d the photographer acknowledges. \u201cBut it exists in all of my works. Think about a landscape for a second,\u201d he requests. \u201cIt\u2019s never inside of you, it\u2019s always growing further away from you. That\u2019s why I don\u2019t photograph landscapes, I take pictures of an environment. I\u2019m inside things, they are mine.\u201d\u00a0<\/span><\/p>\n

Discover & Collect Sharon Ya’ari\u2019s works here<\/strong><\/a>.<\/p>\n

Joy Bernard is a senior news editor at Israel\u2019s leading English-language daily Haaretz. Based in Tel Aviv, she writes about politics, arts and culture in the Middle East for various publications.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The craft of photography is often compared to the act of storytelling, and it is understandable why the comparison is so tempting to make. If in civilizations past a raconteur would sit around the fire and tell his fellow men tales of their own heritage, in modern societies photographers often take up the same role […]\n","protected":false},"author":32,"featured_media":3608,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[141,79],"tags":[174,182],"acf":[],"yoast_head":"\nTaking A Portrait Of Time Itself: A Studio Visit With Sharon Ya\u2019ari - Artsource.online<\/title>\n<meta name=\"description\" content=\"Sharon Ya'ari: Born in 1966 in Israel, lives and works in Tel Aviv. 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The images have a story, usually one related to existence and near-extinction.His first comprehensive monograph was published at Steidl in fall 2013.Exhibitions of his work have been shown at the National Gallery of Art, Vilnius, Lithuania, 2016; Tel Aviv Museum of Art, 2013; Kunsthaus Baselland, Basel, 2011; Galerie Martin Janda Vienna, 2012; Tel Aviv Museum of Art, 2006; Lisson Gallery, London, 2003; Lombard Freid Fine Arts, New York, 2003;Ya\u2019ari is currently a Senior Lecturer at the Master of Fine Arts program, as well as the Photography Department at the Bezalel Academy of Arts and Design, Jerusalem.","og_url":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/","og_site_name":"Artsource.online","article_publisher":"https:\/\/www.facebook.com\/telavivgalleries\/","article_published_time":"2019-09-29T13:46:42+00:00","article_modified_time":"2021-01-04T09:30:08+00:00","og_image":[{"width":970,"height":648,"url":"https:\/\/www.artsource.online\/wp-content\/uploads\/2019\/09\/2016_exhibitionview_vilnius5.jpg","type":"image\/jpeg"}],"author":"Joy Bernard","twitter_card":"summary_large_image","twitter_creator":"@GalleriesTLV","twitter_site":"@GalleriesTLV","twitter_misc":{"Written by":"Joy Bernard","Est. reading time":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/#article","isPartOf":{"@id":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/"},"author":{"name":"Joy Bernard","@id":"https:\/\/www.artsource.online\/#\/schema\/person\/223922d9e21a2a63ca99baf547b7bd48"},"headline":"Taking A Portrait Of Time Itself: A Studio Visit With Sharon Ya\u2019ari","datePublished":"2019-09-29T13:46:42+00:00","dateModified":"2021-01-04T09:30:08+00:00","mainEntityOfPage":{"@id":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/"},"wordCount":1411,"publisher":{"@id":"https:\/\/www.artsource.online\/#organization"},"keywords":["Joy Bernard","Sharon Ya'ari"],"articleSection":["Artists","Studio Visits"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/","url":"https:\/\/www.artsource.online\/taking-a-portrait-of-time-itself-a-studio-visit-with-sharon-yaari\/","name":"Taking A Portrait Of Time Itself: A Studio Visit With Sharon Ya\u2019ari - Artsource.online","isPartOf":{"@id":"https:\/\/www.artsource.online\/#website"},"datePublished":"2019-09-29T13:46:42+00:00","dateModified":"2021-01-04T09:30:08+00:00","description":"Sharon Ya'ari: Born in 1966 in Israel, lives and works in Tel Aviv. Ya\u2019ari graduated from the photography department of Bezalel Academy of Art and design, Jerusalem, in 1994 and received an MPhil from University of Derby, England in 2002.Ya'ari's works focus on ordinary objects and routine life throughout the country, while inducing from them a range of complex socio-political sensitive insights.His photographs depict the remainders of private actions and motivations, which are unrelated to art or photography, but under his lens raise questions about local identity, and about the way trivial matters can become charged with meaning by being present over an extended period of time; laying there, piling up, accumulating, taking form. 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