Dafna Talmor - Untitled (0408-2)
from the Constructed Landscapes (Vol. I) series.
C-type handprint made from collaged and montaged negatives, 2011.
This piece is from Constructed Landscapes, an ongoing series of reconfigured landscapes produced by collaging medium format colour negatives from my personal archive, shot across different locations.
Constructed Landscapes, an ongoing project, stems from collaging medium format colour negatives from my personal archive to produce reconfigured and abstracted representations of landscape. Transformed through the act of slicing and splicing, the resulting images are staged landscapes, a conflation combining the ‘real’ and the imaginary. Through this work, specific places initially loaded with personal meaning and political connotations, are transformed into a space of greater universality. Blurring place, memory and time, the work alludes to idealised and utopian spaces. In dialogue with the histories of photography, Constructed Landscapes references Pictorialist processes of combination printing, Modernist experiments with the materiality of film and engages with contemporary discourse on manipulation and the analogue/digital divide. The series includes C-type handprints made from collaged negatives, unique preparatory studies, contact prints, photograms, site-specific vinyl wallpapers and spatial interventions, publications and sculptural iterations which play further with the idea of a plurality of viewpoints via multi-directional landscapes.
Dafna Talmor is a London-based artist and lecturer whose practice encompasses photography, sculpture, spatial interventions and collaborations with work included in public collections such as the National Trust, Victoria & Albert Museum, Deutsche Bank, Hiscox and publications such as The Women Who Changed Photography (2024), 100 Photographs: From the Collections of the National Trust (2024), Look at This If You Love Great Photography (2021), Post-Photography: The Artist with a Camera (2014). Constructed Landscapes, her first monograph published by Fw:Books in 2020, was longlisted for the 2021 Kraszna-Krausz Photography Book Award, followed by Addendum, published by Fw:Books in 2025. Recent solo exhibitions include The Moving Eye Cannot See, Sid Motion Gallery (London), Sea of Stones, House of Arts, Veszprém-Balaton European Capital of Culture programme, Constructed Landscapes, Carmen Araujo Arte (Caracas) and group shows The Hunter of Thyself, Versus Art Project x Ka (Istanbul), Known & Strange: Photographs from the Collection, V&A Museum (London) and Occupying Photography: To the Milky Way via the Sea, NŌUA (Bodø). Talmor is a Royal Photographic Society Honorary Fellow, featured artist in How Was it Made? The Chromogenic Process, a film commissioned by the V&A Museum, and the first contemporary artist with work displayed in Fox Talbot’s Lacock Abbey, South Gallery.
Dafna Talmor - Untitled (0408-2)
from the Constructed Landscapes (Vol. I) series.
C-type handprint made from collaged and montaged negatives, 2011.
This piece is from Constructed Landscapes, an ongoing series of reconfigured landscapes produced by collaging medium format colour negatives from my personal archive, shot across different locations.
Constructed Landscapes, an ongoing project, stems from collaging medium format colour negatives from my personal archive to produce reconfigured and abstracted representations of landscape. Transformed through the act of slicing and splicing, the resulting images are staged landscapes, a conflation combining the ‘real’ and the imaginary. Through this work, specific places initially loaded with personal meaning and political connotations, are transformed into a space of greater universality. Blurring place, memory and time, the work alludes to idealised and utopian spaces. In dialogue with the histories of photography, Constructed Landscapes references Pictorialist processes of combination printing, Modernist experiments with the materiality of film and engages with contemporary discourse on manipulation and the analogue/digital divide. The series includes C-type handprints made from collaged negatives, unique preparatory studies, contact prints, photograms, site-specific vinyl wallpapers and spatial interventions, publications and sculptural iterations which play further with the idea of a plurality of viewpoints via multi-directional landscapes.
Dafna Talmor is a London-based artist and lecturer whose practice encompasses photography, sculpture, spatial interventions and collaborations with work included in public collections such as the National Trust, Victoria & Albert Museum, Deutsche Bank, Hiscox and publications such as The Women Who Changed Photography (2024), 100 Photographs: From the Collections of the National Trust (2024), Look at This If You Love Great Photography (2021), Post-Photography: The Artist with a Camera (2014). Constructed Landscapes, her first monograph published by Fw:Books in 2020, was longlisted for the 2021 Kraszna-Krausz Photography Book Award, followed by Addendum, published by Fw:Books in 2025. Recent solo exhibitions include The Moving Eye Cannot See, Sid Motion Gallery (London), Sea of Stones, House of Arts, Veszprém-Balaton European Capital of Culture programme, Constructed Landscapes, Carmen Araujo Arte (Caracas) and group shows The Hunter of Thyself, Versus Art Project x Ka (Istanbul), Known & Strange: Photographs from the Collection, V&A Museum (London) and Occupying Photography: To the Milky Way via the Sea, NŌUA (Bodø). Talmor is a Royal Photographic Society Honorary Fellow, featured artist in How Was it Made? The Chromogenic Process, a film commissioned by the V&A Museum, and the first contemporary artist with work displayed in Fox Talbot’s Lacock Abbey, South Gallery.