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Ori Gersht Photographer
Ori Gersht is an Israeli contemporary photographer and filmmaker whose work explores themes of memory, history, and the passage of time. His images often depict moments of transformation, such as exploding flowers or melting ice, frozen in time through high-speed photography. Gersht’s work highlights the tension between beauty and destruction, movement and stillness, capturing fleeting moments that feel both fragile and powerful.
https://www.origersht.com/
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🧨🌻🌹🌷🌺💥 #origersht https://www.instagram.com/p/BxnBlQ6FNkT/?igshid=106qlrrt26kn2
ori gersht
ori gersht
Ori Gersht
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Ori Gersht @yancey RIchardson #photography #explosion #chelsea #nyc #origersht #yanceyrichardsongallery #weloveart https://www.instagram.com/p/BneyMRxhEGE/?utm_source=ig_tumblr_share&igshid=g1gkh1fhux36
Ori Gersht - Untitled 10, from the series Time After Time, 2007 - Chromogenic print, 16 1/2 × 12 1/2 in (41.9 × 31.8 cm).
I love it my beautiful friend took a picture of me. I was guiding ASL tour for discuss that images blow up about photographer Ori Gersht #origersht #flowersblowup #poetry #mopa #translation Ori Gersht's description about Time After Time & Blow Up [2007] The large-scale photographs entitled Blow Up depict elaborate floral arrangements, based upon a 19th Century still-life painting by Henri Fantin-Latour, captured in the moment of exploding. Gersht´s compositions are literally frozen in motion, a process dependent on the ability of the advanced technology of photography to freeze-frame action. This visual occurrence, that is too fast for the human eye to process and can only be perceived with the aid of photography, is what Walter Benjamin called the ‘optical unconsciousness’ in his seminal essay ‘A Short History of Photography’. Flowers, which often symbolise peace, become victims of brutal terror, revealing an uneasy beauty in destruction. This tension that exists between violence and beauty, destruction and creation is enhanced by the fruitful collision of the age-old need to capture “reality” and the potential of photography to question what that actually means. The authority of photography in relation to objective truth has been shattered, but new possibilities to experience reality in a more complex and challenging manner have arisen.
