In this series are landscape photographs from the seam line of southwest Jerusalem, from Bethlehem to Malha through Gush Etzion. I photographed the blurred border area of Jerusalem on an almost regular basis. It is an axis that on the one side has characteristic, rough, slightly wild landscapes of the Jerusalem hills; and on the other there are unending building sites that have existed for years, roads and train, the Malha mall, The Teddy Stadium, Har Homa, the Jerusalem Zoo and even vague and unspecified sites that have no purpose - there are those as well. From the beginning of the 1990’s I began to use the landscape photographs from this area in my paintings. Some of the photographs were treated and processed digitally before they were transferred to painting. The other ones were used to create a final product which was a completely computerized adaptation. An adaptation that emphasized the kind of surface created using pieces of plastic that served as a tool for placing paint; a tool that leaves a kind of combed surface, that moves masses of paint across the painting’s surface, a tool that resembles the movement of the shovel of a bulldozer. The works in this series were the result of another process: they are analog and digital enlargements of the original photographs that had been treated; they are stained and enlarged landscapes. These same hundreds of photographs of the area were the platform on which I worked with the same tool: mixed paint, a paste of pigments, glues, oil and acrylic paints, without giving any consideration to the required rules of painting. This was""the format in which the paintings were printed. Some of these works I photographed after having treated them with paint in a format that permits enlargement and they were printed in sizes far removed from the intimate scale of applying paint and come closer to a panoramic vision. The series, which went on for a decade, long before the separation fence of the “Jerusalem Envelope”, raises the issue of city planning and the marking of borders. The point of view and the point of departure of the entire work always remained very subjective, reflexive, related to the place of the artist and the act of painting – even as the artistic act met local current events.