About Artist's Work

Artist statement

2021 Three Verbs

2020 weave

2019 Manganese Dendrites

2014-5 Twilight Zone

2014 Transformations

2013 To Catch The Moon

2008 Crack

2006 Who am I holding in my arms when I'm holding mom?

To Catch The Moon
Tally Cohen Garbuz. November 2013

What do we see when we look at a photograph? From the crack of the middle of the twentieth century, there was a gradual break in the relationship of trust between photography and the viewer. Documentary photography has given way to personal documentation, to photography as an expression of the emotional world of a man holding a camera. But this documentary language also made its farewell song from the art scene with the outbreak of the next century. And yet.

Throughout the years of photography, the search has never ceased. A search for something else. A search for a private vocabulary that can communicate with the viewer in a different way. Veronique Inbar is a photographer searching. The home and the relationships within it, which she photographed and documented many times, gradually became an inner arena. Not only the known, visible and understood. Photography is no longer a window to the 'life of others' and a narrative will not emerge from the series of photographs. But an abstract inner world that is constantly being held behind the curtain and a photographer looking for the way in which this world can be extricated from the existing and the trivial.

The small detail, the fold of the fabric, the camera's inability to produce such a sharpness from the close proximity to the photographed, ultimately becomes images, objects that exist in the world.

“In the photographs, the relationship between control and chance is expressed”, says Inbar. “In the conscious and planned process of photography, I make room for surprises, as what leads me is a desire to blur between the stranger and the familiar: the stranger emerges from the familiar and the familiar becomes a stranger. This is the enchantment I seek in reality, which is made possible when I let my inner voices and events influence the image of the world I create, thereby revealing the aesthetic quality that reflects the sublime within the daily”.

My preoccupation with photography leads me to think in dichotomous pairs: representation versus abstraction, cover and disclosure, concealment and exposure. I use photography as a research lab, in which I search for the individual in these universal pairs.

Veronique Inbar's photographs also tell us about the tension between vision and contemplation and the camera's ability to point out what is hidden from the eye, give it room and volume. The series of photographs presented in the gallery represents moments of reflection, in which the photographer's gaze is directed both inwards and outwards and at the same time, with the most simple means, she creates reality.

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