Ori Gersht

Tel Aviv, Tel Aviv Museum of Art, Afterglow, 2002

This work is in overall good condition. There is very light lifting from the mount on the left side of the top edge and in the corners. There are several small dings to the mount along the center of the right edge with tiny corresponding areas of lifting in the photograph. There is a 1 cm scuff in the center of the left edge beside a small ding in the photograph. There is a 4 cm S shaped scuff in the center of the work and a 1 cm area of rubbing in the lower left quarter of the work.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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 This work is accompanied by a signed certificate from the artist.

Ori Gersht’s oeuvre is concerned primarily with history and metaphor, journeys and geographical places and the essence of metaphysical place. Many of his series deal with traumas of the past. The series White Noise documents his train journey from Krakow to Auschwitz. This series not only probes into a universal trauma but into a personal one, as Gersht’s family originated from Krakow. One can best understand Ori Gersht's philosphy and the drive behind his works by reading the research statement on the artist's profile page in the University of the Creative Arts website: "Professor Gersht’s practice bridges a history that is full of traumas, whether it is the scars and weal’s left on the sunlit war torn buildings in Sarajevo in his Afterwars series, White Noise with his train journey to Auschwitz, or The Clearing, filmed in a forest loaded with memory in the Ukraine. His photographs have a fragile, phantom quality that belies their absolute singularity of focus, conjuring fleeting, apparitional vistas from ultra-long exposures, summoning haunting, half-glimpsed scenes that are poised on the verge of becoming or the edge of disappearing, forcing the elemental properties of light and time into a border zone of abstraction.” (UCA University for the Creative Arts, Professor Ori Gersht, Reaserach Statement: http://www.research.ucreative.ac.uk/profile/218)