Dafna Tal’s artistic practice incorporates photography, video and sound. Her work explores emotional and mental perceptions as expressed in various cultures and communities.
Tal started her artistic exploration with theatre, sculpture and painting. She later studied at New York’s International Center of Photography (ICP), and continued her studies in cultural project management, where she received an European Diploma from the Association Marcel Hicter, Belgium.
Tal's works have been exhibited internationally including The Hermitage Museum in Saint Petersburg, Russia, as well as at the Casula Powerhouse Arts Center in Sydney Australia, both in 2018. Her participation in group exhibitions includes ‘’Jerusalem: A self-Portrait’’ at the Museum On The Seam in Jerusalem (2019), and “The Women’s Eye”, Visa pour L’Image, Perpignan, France (2018). Tal is a Canon ambassador since 2018.
Besides her love for exploring inner thoughts and feelings, Tal also loves to travel and has a particular affection for small secluded islands. She has a scuba diving, free diving and a yacht master license, as well as experience working as a guide and a counselor.
My work focuses on the search for the ideal and the divine, and their encounter with the limitations of human nature. In each project I try to delve deeper into the realm of hidden feelings, thoughts and concepts to reach those delicate moments when, beyond the defenses, an unrestrained inner emotional essence is revealed.
My art combines video, still photography, and sound, and often reveals encounters with diverse cultures, communities and individuals. The process begins with my establishing a personal relationship, joining conversations, and building trust. This intimate bond paves the way for the exposure of an individual's inner core, and allows me to capture moments of honesty and vulnerability. These fragile moments, when the mask cracks and people become more than their cultural representations, interest me the most.
In attempts to express inner realities, some of my projects employ dialogues which are almost confessional, while in others I record the individual’s facial features and body language to document transformation. The unpredictability of human behaviour adds a dynamic and compelling dimension to my work, so that I can never anticipate its final form.