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My work is not so much a direct commentary as it is an open-ended observation of the absurdities ar
My work is not so much a direct commentary as it is an open-ended observation of the absurdities ar
My work is not so much a direct commentary as it is an open-ended observation of the absurdities ar
My work is not so much a direct commentary as it is an open-ended observation of the absurdities ar
My work is not so much a direct commentary as it is an open-ended observation of the absurdities ar
My work is not so much a direct commentary as it is an open-ended observation of the absurdities ar
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Ori Gersht:
Consider the bloody history of Europe: there was a great aspiration for high culture, yet this veryOri Gersht:
I'm constantly working on these edges of photography, either to employ so much information or reducOri Gersht:
I have lived all my life as part of an ethnic conflict.Ori Gersht:
'Pomegranate,' started with my imagining a bullet going through the fruit and causing it to bleed.Ori Gersht:
I had a dream of music and art and the big city in which I would get lost, where no one would knowOri Gersht:
I look at life as a one-time opportunity, and you have to take pleasure in each moment, even if itOri Gersht:
I worked a little as a messenger on a bicycle and then decided to study photography and film.Ori Gersht:
For a short time I was an assistant to a professional photographer, and I felt that my soul was notOrianthi:
When you're up on stage, especially being a female guitar player in a male-dominated field, if theyOrianthi:
I think you can hear the Delta blues thing in something like the intro to 'Heaven in This Hell,' wh