Since the early 2000s Ickowicz has been photographing the Israeli space in all its everyday complexity. However, rather than documenting the violent and destructive nature of the local political struggle, his work addresses the repercussions of these conflicts on the landscape. He practices “landscape photography,” a seemingly descriptive and objective form of expression whose images gain political meaning precisely from what is absent from them. The strength of Ickowicz’s works thus lies not in what we see inside the picture frame but in what remains outside the spatial and temporal framework.
It is this artistic strategy that he applies to the wounded space left by the events of October 7. Unlike the brutal and psychologically overwhelming sequence of images disseminated and etched in Israeli consciousness through news channels and social media, Ickowicz’s gaze is slow, pausing as it moves, almost tranquil. The exhibition presents a “field” that is not only a physical space but also the site of a painful truth retained in the landscape, affording a different viewpoint on internal and external reality.
