"The works in the series Exposures are a treatment of the Israeli landscape taken to extremes. It is a landscape of earthworks; of flattening and smoothing out, of removal of obstacles, combing, digging, covering and erasure. The name of the series comes from a military concept – “exposing/stripping” a preventative action on the one hand and a deliberate punishment at the same time in areas where there have been shooting attacks or other hostile actions. The stripping and exposure are meant to prevent hiding or ambushes and open a wide and empty field of vision without any obstacles. The army carries it out, usually with heavy equipment and bulldozers, while pulling out trees, agricultural crops and other vegetation, destroying buildings and houses, and flattening any obstacles in the way. The works in this series include interactive screen creations, prints from screenshots, drawings in sanguin on prints, photographic prints from digital files and short video files. The goal of the series was to emerge from the activity of painting or photography into the landscape. In earlier works the dialogue with""and through the landscape was done by means of the choice of observation point, through determining the parameters of the frame, the light and particularly the nature of the treatment of the image that was created by painting or photography. In the series Exposures, the dialogue relies on the endeavor to “create the landscape itself”. It is an attempt to realize a fantasy of a less passive, more direct and deeper intervention. To take one step back: to design the object even before it becomes an image. A task that perhaps would be possible by physical activity using a bulldozer in a given geographical area, or as it was done in this series, by building a virtual model of the territory. Thus, in the beginning I created three dimensional digital models that were based on applications that were written for this purpose. In these works, the creation of the environment was done by determining numerical values that were entered before and during the creation of the image, which appeared on the screen and then was captured" "The experience In the work Hand Sketches Exposures (picture on the right) the basic model of work on landscapes remains. However the design of the drawn landscape is subject to a controlled random algorithm that directs the infinite creation of landscape drawings that are similar in their topographical character but are always new. There is no loop here: the hand continuously draws exposures without repeating itself, as long as the screen is on. As the work developed, the central need was to create, and to function in a wider territorial area; to simultaneously stretch the domain of the work and to characterize the particular nature of the Israeli landscape using only virtual means without relying on realistic analogue data. It was not meant to model a specific area in Israel, this is definitely possible, but to be in a more abstract and non-specific space. Additional programing tools were then added to the original code upon which the first models were based, (specifically: Terragen, Wilbur 3DMax). I used a complex array of tools that helped me to create a""three dimensional model of an extensive and dynamic territory. At this stage an interactive model was born; a model which can be developed further, for processing the volume and surface area and especially, for documenting in a way that simulates familiar photographic work (pp.12-27). At every point in time in the development of the model and at every virtual data point it is possible to situate oneself and to “photograph” a defined frame in maximum detail: exposure time, lens adjustment, width and depth of field, at every point and to every point in the model, or in other words, to create a digital file for any purpose. For several months I operated in a virtual landscape the size of a number of acres, which exists only in the computer’s memory. I excavated, flattened, paved new paths, chiseled and intervened – virtually, of course. During the work and at its completion, after I finished designing the landscape, the topography and the creation of the combed surface, I did a “photographic documentation” in stills of the landscape thus created, from different points of view.""These photographs or points of view are the digital files in high resolution that were sent to be printed. At the same time, in the same three- dimensional mode, but with different and realistic adaptations and surface finishes, a short video was produced, an animation composed of thousands of virtual landscape photos, accompanied by a soundtrack of heavy machinery excavating the earth. (p. 8) The last series presented here (pp. 24-27) is composed of drawings in sanguin chalk (red ochre chalk) on digital prints. Hand Sketches Exposures, script: Actionscript 2 for flash, interactive random work, unlimited time, 2005."