“The 2060’s – Memories of a Forgotten Future”

In this project, he creates synthetic memories on an organic substrate, imagined as authentic; an attempt to trace their origin is doomed to a constant failure, where should one track the source of something that has nos yet happened ?

The creative process begins with a digital still photograph. The image undergoes Photoshop processing, during which Asaf breakes it into pieces and stretch one pixel at a time, manually and laboriously – without the use of automation. He reconstructs the space and the same time reveal the genetic sequence of the color and luminosity of th image. Then he prints a “negative” of the new image and create photosensitive Japanese Kozo papers by coating them with Cyanotype chemical Emulsion, and then, I make the final cyanotype touch prints.

The cyanotype prints have a dual function : they give the images he created an instant âtina, a thin layer of dignity and fragrance of yesterday, a veil of familiarity strumming on the capillaries of emotion which stands in stark contrast to the sharp and calculated digitalism of the images themselves. The use of this ancient technique connects his current work to the tradition of photographic creation and at the same time creates unique images, but in this case, an image without a source, a simulacrum.

The Certainty of Uncertainty : A survival Guide in a Fluidic Reality

Asaf Gam Hacohen art is motivated by a desire to examine the aesthetic, cultural and philosophical aspects of life on the borderline between the concrete and the digital spheres. He learned and evolved during the transition between analog and digital photography, his artistic practice is based on photography while thinkinh about the medium and the ongoing challenge of its boundaries.

Ten People I Hardly Knew

The artist collected online portraits, then he created 10 portraits from a numerous parts of faces, textures, skin and haire. These works examine a way to relate a photographic image which was cut of anny indexical sign.

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A Dark Chamber

“The Dark Chambers offers an alternative to the traditional family album, Death Masks of the people that are quite living are placed in Camera Obscure boxes in a way that on side you can see the mask itself, and on other side an image which had been projected by the reflectance of the mask over that topography my face, three dimensional, varies according to that of the photograph the two-dimensional projected increase (and vice versa).
In all of the masks there is a tension between the three dimensional reality and the bidimensional image of it. In all three, the observerd image is fragile; if you will stop the electricity for a moment the dark will take over and wrap them all around. These objects are a reflection of loneliness and the fear that accompany the awareness that we are ephemeral. The Dark Chambers symbolize the ongoing war against oblibion, as well as the examination of the boundaries and the role of the photographic medium in that war”

Savti (2009)

“This project is about an immigration story. This is the story of a survivor from Nazi Germany, whose escape route brought her to South America and from there to Israel. This layer connects to a broader cultural layer, that contains the DNA of immigration stories – immigration as an inherited state of mind, one that passes forward through the generations. The ongoing conflict between the will of belonging and assimilation and on the other hand – maintaining the cultural characteristic of the origins.”