The sources of the tensions that appear in Aharonovitch works are the result of a dual movement towards and away from images. Aharonovitch is at the same time possessed by images, and horrified by their power. He is constantly restraining and unleashing them. Numerous images are being collected, manipulated, indexed, processed, enjoyed, and even metabolized. They are then turned into a single image – a spectacular, captivating yet horrifying image. An image that magnifies the multitude of images and at the same time abolishes them, as they become redundant in the face of the single image. The single image unites times and places, thereby undermining the singularity of the photographic medium – its ambition to capture a moment in time, a frame in space. The images are disarmed of their original context.
The single image becomes a representation of a conceptual occurrence. The image that appears before the viewer is the end point of a long journey. It is the exhaustion of a certain visual quest, one that resists the single image, and at the same time is aimed at one, an ideal one.