A Tree in the Lounge

Book, inkjet print, 2025

As part of a documentary video project I was shooting two years ago, I travelled with my brother on a 24-hour road trip to Eilat. It was the first time I turned the camera towards our relationship, and it was those moments of exposure, his and mine, which quickly became the central focus of the film.

Since then, the project has grown beyond my brother to include my parents and sister as well. I photograph our family dynamics not through celebratory or staged moments, but through everyday life; simple, routine fragments. 

I’m not trying to capture ideal scenes, but to create moments that hover between reality and fiction, between documentation and invention.

Many of the images are shaped by feelings and partial memories, blended with imagined or exaggerated situations. I use the domestic space to introduce tension, concealment, and fragility; not to recreate reality, but to echo something truthful within it.

To me, there is no sharp boundary between what is authentic and what is imagined. Sometimes, it i’s through staging that I arrive at a more honest emotion, one which I wouldn’t have otherwise been able to express even if wrapped in lighting, props, and direction.

The line I walk between family and photography raises questions about intimacy and exposure, about my closeness to the people I photograph and the roles I assign to them in front of the camera. Photography asks them to trust me, and requires me to take responsibility.

I try to protect my family and to honor that trust while still refusing to let myself look away.