Gersht has set up detailed scenarios to make photographs or films, for example using live (cryogenically preserved) and artificial flower arrangements echoing historical paintings, mirrors, explosives and cameras as devices to explore reflection, representation and perception.
In many works he refers to flower studies and still-life paintings of Fantin-Latour and other European masters which contain implied references to death and decay. Gersht brings these themes into a contemporary context, highlighting tensions between creation and destruction, beauty and violence.
Image: Ori Gersht, Time after Time, 2007, LVT print
Courtesy the artist and Mummery & Schnelle