Untitled

Naama Klaiman’s work makes use of appropriated imagery and engages with traces of fragmented memory. In this project, she employs her own earlier photographs, depicting cultural sites emptied of human presence. Into these ‘backgrounds,’ the artist inserts anonymous portraits, collected or purchased from flea markets, which have been manipulated to completely obscure the identities of the subjects. By treating photographs as materials of memory, Klaiman emphasizes how elusive, fragile, and open to manipulation memory itself can be.

Avshalom Soliman