Orit Zuckerman

Catalog # 36

Orit Zuckerman

Hagit1 2010

14.3"x9.34"

Print

www.media.mit.edu/~orit

About the artwork:

When photography was invented, people thought that “the camera can’t lie” and therefore a photographic portraiture is objective. Throughout the 20th century, as more and more portraiture artists adopted photography as their artistic medium, it became clear that portraiture is not an objective process. A portrait represents the relationship between the artist and the sitter, which is interpreted in the mind of the viewer. It is also clear that a representation of a person depends on many aspects that can affect the outcome. Things like state of mind, thoughts, environment, and interaction with other people. So how can we have an “objective” portrait of someone? How can we best represent a person and their multifaceted personality? This portrait is part of series that explores the portrait of a woman through intimate relationships in her life. She will look different when photographed with her husband, her mother or her best friend. Sometimes they are in the frame; sometimes they are just present in the room. The portrait Hagit 1 was taken with Hagit alone on the set.

About the artist:

I am a portraiture artist, exploring the subtleties of human relationship using physical-digital installations. The challenge is the same as that of any portraiture artist, be it photography or film, namely to show the subject's persona; to present the artist's point of view; and to create a moment of intimacy with the viewer. “Moving Portraits” is a new medium for portraiture. Adding technology to a traditional form of art and communication enhances the qualities and meaning of the “old” art form. In my works I am exploring how the essence of portraiture can be enhanced through digital technology, specifically by adding motion and interaction to the traditional static portrait. By incorporating a short motion sequence into the portraits, I am revealing more about the inner personality of the sitter. By incorporating interaction into the portraits, using a variety of sensing techniques such as presence-detection; gender-detection; or user viewing-time measurement, I, the artist, influence the viewer’s experience and create a stronger, more intimate connection between the viewer and the portrait. By setting up networks of portraits that interact with each other, I define a new collective meaning that emerges from the interaction of individual portraits.