This work follows a new chapter in my ongoing quest for legitimacy in the occupying and representation of land. I begin to survey the English landscape, becoming familiar with the island’s geography — an outsider in the act of mapping and marking territory that refers to imperial and colonial histories.

The rural walk is a well-known English cultural practice. Though it may be civil, the act of walking itself is rooted in an ideology from my own cultural background. It is an Israeli idea that to walk the land is to know the land, and knowing the land suggests belonging, entitlement and even ownership.

Inspired by Romantic paintings, I appropriate the rules of the picturesque image, traditionally used to create an illusion of natural and social harmony. I subvert these notions by repeatedly constructing my work to emphasize my outsider position within the English countryside. A place where land ownership and social hierarchy have shaped the form and perception of the landscape for centuries.

With the use of a large format camera, I carefully construct the scenes and pay forensic attention to details. I use dramatic light conditions and on-site interventions to provoke ambiguous feelings of seduction and alienation; inviting a slow and perhaps dubious reading of landscape.