§ 1981-1984: Graduate of the photography department in
The NB Haifa School of Design
§ 2000: Orian College Tel Aviv, multimedia:
processing computerized photographs and computer graphics
§ Professional photographer since 1984
Commercial Photography:
§ 1986-2022: Director of Studio Shoot, specializing in
advertising and fashion photography
§ 2008-2022: Photography
lecturer and teacher in groups, companies and organizations
§ 1983-1986: Fashion
and portrait photographer in Ma’ariv newspaper
Photographic
Process Techniques:
§ Images are photographed
with a digital camera in the studio or in other environments.
§ Digital images are processed,
creating a work of art that is completely different from the original
photograph images.
§ The Adobe Photoshop
software is used for altering digital images and integrating varied
photographed details.
§ 2025: Masterful Mind Award, at the 6th
international CFA artist of the year 2024 competition, held by the Circle
Foundation of the Arts
§ 2024: Awarded first prize in the
international 21th edition of the pollux awards
competition, in the professional section, Fine Art category, held by The British Gala Awards
§ 2023: Harmony for Humanity: The Global
Consciousness Art Prize, awarded by the Contemporary Art Collectors
§ 2023: International Donatello Prize at
Villa Borghese, Florence, Italy
§ 2021: Honorable mention in the Fine Art
(Other) category, as well as official selection, in the Tokyo International
Foto Awards (TIFA)
§ 2019: Honorable mention in the 14th international
competition of the Pollux Awards, in the Alternative Processes category, held
by The British Gala Awards
§ 2018: Awarded second prize in the
international 11th edition of the pollux awards
alternative-processes photography competition held by The Gala Awards
§ 2015: Chosen as finalist in the Landscape
category and Alternative Processes category of the 8th edition of
the Julia Margaret Cameron Award, held by The Gala Awards.
§ 2015: Awarded first prize in the
international Primary Colors photography competition held by The Gala Awards
§ 1982-1983: Awarded
the Sharet Foundation (America-Israel Cultural
Foundation) Fine-Arts Scholarship for photography
§ 2025: Art Expo New York, USA
§ 2024: London Biennale of Women in Art, Great Britain
§ 2024: FotoNostrum The
Mediterranean House of
Photography, Barcelona, Spain
§ 2023: Rome Art Expo, Musa International,
Rome, Italy
§ 2023: Sicily Summer Art Expo, Museum of
Ragusa, Musa International, Sicily, Italy
§ 2023: "Interconnecting Lines",
Museu Europeu d'Art Modern (MEAM) in collaboration with ArtioGallery, group
exhibition, Barcelona, Spain
§ 2023: "Woman's Essence Show 2023,
Labo 6/2 Gallery, Musa
International Art Space, Berlin, Germany
§ 2023: "The Current Obsession"
and "Catch the Golden Fish", MONAT Platform Gallery, Madrid, Spain
§2022: "Guardians of Dreams", Milano, Italy,
M.A.D.S Gallery, group exhibition
§ 2022: "Unfolding Stories", Nartwork A.P.S
at Luciana Matalon Fondazione, Milano, Italy, group exhibition
§ 2022: Luxembourg Expo, International Contemporary Art
Fair, in cooperation with MONAT Platform Gallery
§ 2022: Paris Expo, International Contemporary Art
Fair, France, in cooperation with MONAT Platform Gallery
§ 2022: "Yellow", international
mixed-reality art exhibition, Milan, Italy, and Fuerteventura, Spain, M.A.D.S
Gallery
§ 2022: The international Art Fair in
Carrousel du Louvre, Paris, France, in cooperatoin with PAKS Gallery
§ 2022: Basel Art
Biennale, Switzerland, organized by the MAMAG Modern Art Museum in cooperation
with PAKS Gallery
§ 2022: Art Cannes Biennale, France, organized
by the MAMAG Modern Art Museum in cooperation with PAKS Gallery
§ 2022: FotoNostrum Gallery, Barcelona,
Spain
§ 2022: V Bienal Internacional de Arte
Contemporáneo de
Argentina, Buenos Aires
§ 2022: "From Thoughts to
Artwork", PAKS Gallery by the castle heidenreichstein in Austria
§ 2022: "Art Between Thoughts and
Spontaneity", PAKS Gallery in Munich, Germany, group exhibition
§ 2022: "New Contemporary, The Unique
World", PAKS Gallery in Vienna, Austria, group exhibition
§ 2020: More is More, Rome, Italy,
Rossocinabro Gallery, group exhibition Identities and Relationship Between
Man, Society and Contemporary Cities, Itsliquid
international contem-porary art show, Venice, Italy
§ 2020: Awardee of the 14th international photography competition of the Pollux Awards and the Julia Margaret Cameron Award, held by The British Gala Awards, Fotonostrum, Barcelona, Spain
§ 2017: Songzhuang, Beijing, Czech China
Contemporary Art Museum (CCCAM) – “Songzhuang Photo Biennale” (major part of 10th annual Songzhuang art festival), group
exhibition, photographic works
§ 2016: Berlin, Germany, Palazzo Italia –
the 4th Biennial of Fine Art and Documentary Photography, group
exhibition, photographic works. Daphna was selected to exhibit in the
biennial after being awarded first prize in the international Primary Colors
photography competition held by The Gala Awards, which holds juried
competitions for photographers from all around the globe, among which are the
Pollux Annual Award and the Julia Margaret Cameron Award for women
photographers
§ 2010: Doral, Florida, Museum of the
Americas – "Women in the Arts 2010", group exhibition, photographic
works
My Mythology Series
The series is inspired by 6 scenes taken from stories of the Greek mythology, and are combined into a futuristic cold world. These pieces display the destruction of the ancient world with its beautiful and glorious architecture by new age technology and progress.
By taking pastoral landscapes filled with architectural remnants of glorious ancient empires and contrasting them with tied up animals representing the mighty gods in all their glory, these scenes represent the changes between the ancient world and the reality we live in nowadays, in which the mighty nature is being trampled by technology and progress, threatening the existence of our beautiful planet and the legacy we leave for future generations.
In the creations, I integrate imaginative images of sublime nature with a cold, futuristic urban vista which is slowly taking hold of our world. I am preoccupied with the accelerated processes taking place in our world which affect the environment, the climate, and nature, as well as the future we would like to give our children. Through these works, I would like to have some influence on public opinion for the sake of creating a better future.
In my works, the past is juxtaposed against the future, the myth of bravery against the empowerment of women, the myth of survival against that of commemoration. A dialog is formed between the stories and the characters discussing such issues as social rank, identity, might, power, adamance, and fate.
As it seems, the works all convey the sense that the experience of the setting is ambivalent, moving along the axis of an actual site and nowhere. On the one hand, they are searching for the connection with the past and the sense of belonging to it; on the other, they are placed on an unclear border between times. In actuality, these are imagined settings devoid of a concrete time.
Aphrodite, the goddess of beauty and love, mourning her lover, Adonis, who died at the hands of her consort, Ares, who was jealous of him, whilst the former was disguised as a boar. At the site of his death, red windflowers grew from his blood.
Aphrodite, the goddess of beauty and love, mourning her lover, Adonis, who died at the hands of her consort, Ares, who was jealous of him, whilst the former was disguised as a boar. At the site of his death, red windflowers grew from his blood.
“My Mythology, Echo and Narcissus”
Beautiful Narcissus, who loved only himself, gazing at his reflection in the waters of the lake with admiration. Nymph Echo is hiding behind the tree, gazing at him with admiration.
Goddess Hestia, Virgin goddess of the fireside, home and family.
Goddess Hestia and the donkey which, after the banquet where she and the gods fell asleep, saved her with his bray from rape by the God Priapus in her sleep.
In the creation of the series, I was inspired by powerful women in the reality of events which had taken place and still are in the place where I was born and live, as well as by tales of reality-altering women throughout history.
The war depicted in the series is analogous to battles which are not physical by necessity; rather, they are cultural battles related to values which constantly take place in our lives.
In the series, I integrate landscapes and sites of immense power of various locations all over the globe with imagined, at times futuristic, locations as the backdrop to the unfolding scenes and the chain of events.
The main character was photographed in a studio according to a meticulous plan for the sake of later integrating her into the background, which was tailor-made to complement the scenes.
Integrated into the scenes are symbols of various cultures from historical times, such as symbols of the Papago tribe (Tohono O’odham) of Native American culture in south Arizona, which correspond particularly to the narrative of the showcased series, but may correspond in their various messages to any periodical time, messages which depict the repetition of the cycle of life and the bloody, redundant wars taking places again and again throughout history and for many a generation, which are not being studied for the sake of change and their prevention in years to come.
In the creation of the series, I was inspired by powerful women in the reality of events which had taken place and still are in the place where I was born and live, as well as by tales of reality-altering women throughout history.
The war depicted in the series is analogous to battles which are not physical by necessity; rather, they are cultural battles related to values which constantly take place in our lives.
In the series, I integrate landscapes and sites of immense power of various locations all over the globe with imagined, at times futuristic, locations as the backdrop to the unfolding scenes and the chain of events.
The main character was photographed in a studio according to a meticulous plan for the sake of later integrating her into the background, which was tailor-made to complement the scenes.
Integrated into the scenes are symbols of various cultures from historical times, such as symbols of the Papago tribe (Tohono O’odham) of Native American culture in south Arizona, which correspond particularly to the narrative of the showcased series, but may correspond in their various messages to any periodical time, messages which depict the repetition of the cycle of life and the bloody, redundant wars taking places again and again throughout history and for many a generation, which are not being studied for the sake of change and their prevention in years to come.
In the creation of the series, I was inspired by powerful women in the reality of events which had taken place and still are in the place where I was born and live, as well as by tales of reality-altering women throughout history.
The war depicted in the series is analogous to battles which are not physical by necessity; rather, they are cultural battles related to values which constantly take place in our lives.
In the series, I integrate landscapes and sites of immense power of various locations all over the globe with imagined, at times futuristic, locations as the backdrop to the unfolding scenes and the chain of events.
The main character was photographed in a studio according to a meticulous plan for the sake of later integrating her into the background, which was tailor-made to complement the scenes.
Integrated into the scenes are symbols of various cultures from historical times, such as symbols of the Papago tribe (Tohono O’odham) of Native American culture in south Arizona, which correspond particularly to the narrative of the showcased series, but may correspond in their various messages to any periodical time, messages which depict the repetition of the cycle of life and the bloody, redundant wars taking places again and again throughout history and for many a generation, which are not being studied for the sake of change and their prevention in years to come.
In the creation of the series, I was inspired by powerful women in the reality of events which had taken place and still are in the place where I was born and live, as well as by tales of reality-altering women throughout history.
The war depicted in the series is analogous to battles which are not physical by necessity; rather, they are cultural battles related to values which constantly take place in our lives.
In the series, I integrate landscapes and sites of immense power of various locations all over the globe with imagined, at times futuristic, locations as the backdrop to the unfolding scenes and the chain of events.
The main character was photographed in a studio according to a meticulous plan for the sake of later integrating her into the background, which was tailor-made to complement the scenes.
Integrated into the scenes are symbols of various cultures from historical times, such as symbols of the Papago tribe (Tohono O’odham) of Native American culture in south Arizona, which correspond particularly to the narrative of the showcased series, but may correspond in their various messages to any periodical time, messages which depict the repetition of the cycle of life and the bloody, redundant wars taking places again and again throughout history and for many a generation, which are not being studied for the sake of change and their prevention in years to come.
This series was inspired by the private diary of my grandmother, which she had brought from her homeland, whose writing commenced when she was a young electrical-engineering student in a gymnasium in Russia and continued after her immigration to Israel as a grown woman.
The series engages in the historical story of my family and in the various characters who played a prominent part in it and created the familial lineage, which is intertwined with the complex story of the establishment of the state in which I was born and of their ordeals prior to their arrival in Israel, as well as thereafter.
I created an imagined encounter between myself and various characters belonging to different generations of my family by use of historical, personal belongings which were either brought by members of my family from their homelands or originate in Israel, where they built their home. At times, the objects are integrated into the wide array of Israeli landscapes, and at times – into imaginary dark rooms. An intense contrast exists between the darkness of the rooms and the bright colorfulness of the landscapes, but the objects create a uniformity and continuity of the theme.
On the one hand, it is a historical, autobiographical story; on the other, it is relevant to all times and places and could evoke identification and memories in many individuals, wherever they may be.
“Venus and Adonis”
“Goddess Hestia”
“Flag Bearer, End of the War”
“Flag Bearer, Healing hand”
“Flag Bearer, Circle of Life”
