Huge landscape photographs welcomed those entering the area of Dor Nevo’s exhibition. These were sharp photos, displaying a broad area, which Nevo shot in a 35-millimeter digital format in various places in Israel. Despite the strong beauty of the photos and of the open spaces seen in them, the feeling they engendered was actually apocalyptic. Virtually all of them documented places that are in a borderline state, a state of destruction, of desiccation, of extinction. There was no human presence in the photos, but the destructive human touch was horribly present, revealed through the quality and timing of the photos.
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Nevo admits that the project stemmed from concern about the upheavals being caused in nature, but says he wanted to diverge from the poster-like ways generally used to present them: “The images are supposed to stimulate thought by means of nuances, rather than exposing the damage blatantly: directly, critically and accusingly.”
Among the places photographed: quarries in the area of Nahshonit Park and Ben Shemen; an interchange in the area of Shoham; a riverbed near the Dead Sea; a field in Hod Hasharon; and a channel for water on Moshav Megadim.
Nevo: “In general I preferred places that are under our noses, and not far from the eye. I also wanted to show examples from various places in Israel, to prove how common the phenomenon is. The images were achieved thanks to a great deal of wandering, mainly during stormy winter days. The choice of the time of the shot, the point of view and the technique were designed to endow the photos with a feeling of a painting or an engraving in a sense, making destruction aesthetic.”