Too much time in our hands is a project about the Israeli-Palestinian conflict that studies images of war and the depiction of violence or pain, in the scope of mass media and digital photography.
Having been on the field; the reality projected in magazines or the western 'culture' of war, appeared far and distorted from the truth and the real issues.
The work challenges the nature of images, nowadays used as symbols for a stereotyped vision of a referent or subject, afar or emotionally detached from viewers, in order to construct a reality that serve a concept or an ideology.
In this case, the embodiment of the conflict was always reflected by pictures of individuals fighting,throwing stones and the bold, physical presence of the Wall.
The concrete barrier, its inevitable visibility, was a metaphor of the compartiment of ideas and preconceptions, erected on the precept of Control and Order.
To deflect the diktat of iconic images and express the real impact of the Wall, the work emphasises its presence by visually erasing it: the photographs shown are man-shaped environment, stigmatised by a barrier absent in the frame.
The project focuses on the fragility of notion of Space and factuality, revolving around the common factor Time, which defined the process creating the visuals.
On a daily basis, Palestinians' struggles shifts from the violence depicted in news to a silent, insidious fight against time, which is the Israeli way of order: control of movement, control of habits, resilience of the resistance.
The film Checkpoint document the waste of time experienced by workers, as they are forced to queue long hours before being allowed to enter a transit zone and go to work.This pure documentary form serves as a matrix for the photographs, embracing a conceptual vision of the present fading and the manipulation of space: long exposure photographs at night, are unfolding a truth which is otherwise invisible for security or immediacy.