Here, the artist says it best:
My work is based on processed photographic montage, which involves field research and computerized finalization. The works contain thousands of images reorganized and remodeled together to create new utopian venues.Oftentimes I start by spotting buildings that are slated for demolition. Usually they are located in the old, southern parts of Tel-Aviv, where I live.
In my studio, I clean and oil objects from the sites – sometime even interfering with the original shape or color – that is, I remodel them. When they are ready for the ‘stage’, I photograph each object separately, oftentimes from the same angle, using the same macro-lens and under the same light to ensure their homorganic status; the photographed objects will serve to facilitate democratic viewing conditions, which eliminates all hierarchies. At this point I start the process of constructing the “wall” in Photoshop. On this artificial structured canvas, I place and arrange the photographed objects, forming large-scale panoramas that simulate a fictitious space.
The human vision is functional and goal-oriented, so it often misses alternative possibilities of perception and observation. Guided by the desire to expand these possibilities, I am interested in creating utopian, fictitious, even ‘impossible’ spaces that point toward the limitations of sight and undermine the conventional process of seeing. Through them I wish to make the gap between perception and the construction of meaning present.
I visited Matt Lipps’ studio back in 2010 with a group of students from the Hammer Museum’s student association (HSA). He has developed a very sharp photographic process. For this series HORIZON/S, Lipps very delicately cuts out figures from vintage publications and props them up to create miniature sculptures, which he then arranges int0 groups. Using direct, vibrant lighting, he shoots this groupings and produces images of pseudo-still lives. I am drawn to them because of his romantic selection of subjects: ancient sculptures, black and white portraits, ethnographic likenesses, and others. His montages are decidedly without narrative, thus forcing the viewer to relate and interprete these pieces in a fresh context.