The phrase “to cast sand into someone’s eyes”- in Hebrew, as in several other languages — refers to an intentional act of deception, distraction, or concealment, carried out in order to prevent one from seeing what is truly taking place. Drawing on this idiom, Casting Sand explores the aesthetics and mechanisms of obscuring reality and truth.

 

The expression appears in many languages: in English (to throw dust in someone’s eyes), in Arabic, as well as in German and French - all of which draw on the image of blurred vision. Originally a physical gesture, it has become an allegory for blurred understanding, misdirection, and the subtle mechanisms of deception. When one’s own field of vision is obscured, reality may remain unseen, even if it lies directly ahead.

 

The work consists of text, a slow-motion video, and a series of photographs - with final scale and medium of presentation still in development. In the video, sand is cast toward the camera in slow motion - its movement mesmerizing, almost hypnotic — until it gradually blurs and ultimately blocks the viewer’s gaze.

 

The photographs present a layered visual field: a recurring hand casting sand, shifting forms suspended mid-air, and surfaces veiled by accumulated grains. These images capture the sand’s ephemeral formations — shaped by the wind and the specific gesture of the throw - echoing the transience found in motion. The process is not staged or digitally altered, but documents a real-time action that unfolded in the desert. It reflects an intuitive collaboration with nature — a recurring element in my practice, where environmental forces are invited to shape the outcome in ways that remain unpredictable until they emerge. 

 

The sand’s forms are both captivating and impermanent; they catch the eye in the moment but do not hold - inviting repetition. The video captures this continuity, inherent in the act of deception and distraction - evoking a near-physical response of flinching as sand is hurled toward one of the screens. In another mode, the photographs freeze singular moments, like messages suspended and imprinted within the mind, gradually settling in and influencing perceptions of reality.

 

By illustrating the expression, the work explores themes of perception and deception. These are shaped not only by external forces, but also by internal ones: the things we overlook, the narratives we absorb, and the uncomfortable thoughts, sensations, questions, or doubts we set aside - sometimes unconsciously.