This ongoing body of work consists of staged landscapes made of collaged and montaged colour negatives shot across different locations that include Israel, Venezuela, the UK and the USA. Initially taken as mere keepsakes, landscapes are merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary. This conflation aims to transform a specific place - initially loaded with personal meaning, memories and connotations - into a space that has been emptied of subjectivity and becomes universal.
In dialogue with the history of photography, Constructed Landscapes references early Pictorialist tendencies of combination printing as well as Modernist experimental techniques such as montage, collage and multiple exposures. While distinctly holding historical references, the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status and veracity. Through this work, I am interested in creating a space that defies specificity, refers to the transient, and metaphorically blurs space, memory and time.