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Issue link: https://fairweathermagazine.epubxp.com/i/144159
passion. My work is ofering an answer, but it's giving more questions. So, this work that I shot between 2010–2012 that I haven't shown yet. I'm waiting for a museum show for it, and I'm discussing with several museums now. Anyhow, the frst I did was in the desert. Then, between 2010-2012, I went every full moon time to shoot in Israel in three diferent locations, three diferent subjects. One is in the forest, and that was beautiful. Another aspect is the fower felds. I shot fower felds in the night. White fower felds. And, of course, night for fowers is very unique—you know, the fowers are closed. The fowers remain closed. The colors of that reality are totally diferent. P: Did you go into these three places in order to go into unfamiliar spaces? R: I'm looking to show things that are in a way that are away from our eyes. We are 50 | SUMMER 2013 | FAIRWEATHER 'I shot fower felds in the night … The fowers remain closed. The colors of that reality are totally diferent. ' Top: Har Tsahov (addio amore mio), 2012. Photographic print, 70x106 inches. Bottom: Campi Singolari (singolar flds), 2012. Photographic print, 70x106 inches. not sure of their existence and this is a metaphor for all of the work that I'm doing. It's about questioning existence. When I really started working in the night, I was walking in the desert and I couldn't see myself and I had to ask the question about existence. If I can't see myself, what does it mean? P: Do you exist? R: Yes. That's when I started to question existence. What is existence's meaning? My father passed away and I had this experience of someone passing away, and he doesn't exist. Things we are always dealing with in our day by day even when we are not thinking about it. It is always running in our mind. The dark. The unknown. It's something I discovered during the process. When I'm cooking and I don't know the exact recipe, using things from here and there, combining, I'm starting from a point and I never know where it's fnished. P: If you follow the recipe it wouldn't be the same? R: I wasn't sure I had a recipe. I knew I had a starting point. All that working in the night it is such a long process. I never see what I am shooting. All this time I have in my mind how this will be, and all these questions bring new ideas and inspiration and then of course you are surprised. Did you ever live in the desert? P: Not yet, but I have time I hope. R: And then you will go crazy! A really unique place. P: It sounds scary to me. R: It may be scary, but it's a way to confront fears. P: Is there something that you have in your mind that you want to do? R: First, I'm doing the Jesus project. P: Tell us about the Jesus project. R: The story of Jesus is based on my personal experience as being in the eyes of others physically similar to Jesus—to what Jesus icon is for public, for everybody. Since I am quite young, everywhere I've visited, people that I didn't know that I never saw before called me Jesus. And this happens at least once a day. So this is an experience after many years, I decided to deal with in an artistic way—it's kind of an answer to all of those comments—it's a conversation with people that I'll never know, but they know me, since they have already commented. They made a comment without knowing me. The project is my way of seeing Jesus. It will be photographing-set photography in locations in Israel and Italy. This is the way I see Jesus. I'm trying to discover the spiritual lighting that is behind what we know as Jesus. It's very metaphysical. P: The light is the spiritual hope for a lot of people. When you started out was it about spiritual light? R: When I started, it was always about spiritual in a way, because this work is very fgurative and the fact that it is fgurative, hiding very strongly the concept behind it, because light is something that we can't really see. Light exists but we don't see it. This is why it speaks about existence, and existence is reality. All what the work is showing is covering the real protagonist, the hero of the work itself, which is not really seen, which is the light. For example, the work I'm showing in Brussels—this series is showing the physical moment that is generated by the movement of the light in the space. This is not something that can be really seen, the character of light.