הדס סט

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- Artist Statment
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The photographer Gustave Le Grey began his career studying painting, but very quickly became a seminal figure in the development of photography, and to this day he is considered a model of technical mastery combined with aesthetic sensitivity. Alongside portrait photographs and documentation of urban life, his seascapes that look towards the horizon line, where the clouds meet the waves, stand out for their innovation. Le Grey faced the difficulty of photographing the sky due to the increased sensitivity of photographic materials to light rays.
Therefore, he came up with the idea of assembling a seascape from two negatives with different light exposures - one for the sky and the other for the surface of the sea - and printed them together for an ideal image of a dramatic seascape.

Ann Brigman was born in Hawaii, moved to California and was also a painter before turning to photography in 1902. She photographed in the pictorialist style and fought together with her colleagues for an equal status for photography as the other arts. Brigman believed in the artistic concept of a lyrical encounter between the personal and the universal, as evidenced by the landscapes she photographed that had a mythical character. The portraits of the naked women she took in nature, including her own body, were groundbreaking. She used soft focus to blend the twisting forms of the tree trunk with the gestures of the body and create a symbolic and emotional expression of feminine power.

In her works, Hadas Satt uses digital means to combine parts of negative images taken in 35 mm format, thus expressing the complexity of the human and emotional experience in the world. This practice recalls the hybridizations made by the two photographers who are her spiritual father and mother: the negatives that were put together by Le Grey, and the combination between the figure of the woman and the tree In Brigman's photograph. The technique that focuses on the seam line between images enables Satt to create - or cancel - an imagined horizon line. This syntactic language of the three combines the documentary nature of photography with its ability to transform reality and offer a different kind of truth.

Tamara Abramovitch, Ilanit Konopny