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Naomi RedeL
Art of Photograpy
In His Absence| A Portrait | Memory Reconstruction
This collection brings together relics of a father whose presence is felt only through the objects
n His Absence” is a photographic essay of personal memory reconstruction, built from intimate relics of a father whose presence endures only through objects. Each artifact —his geological notebooks, worn sweater, yellow Kodak canister—becomes a quiet archaeological layer, inviting the viewer to consider how memory is shaped through what remains and what is missing. Through these fragments, the series reflects on absence as a form of presence, and on the emotional work of piecing together a life interrupted. This project explores personal memory reconstruction through photographed relics that speak to lineage, loss, and the subtle persistence of inherited stories.
n His Absence” is a photographic essay of personal memory reconstruction, built from intimate relics of a father whose presence endures only through objects. Each artifact —his geological notebooks, worn sweater, yellow Kodak canister—becomes a quiet archaeological layer, inviting the viewer to consider how memory is shaped through what remains and what is missing. Through these fragments, the series reflects on absence as a form of presence, and on the emotional work of piecing together a life interrupted. This project explores personal memory reconstruction through photographed relics that speak to lineage, loss, and the subtle persistence of inherited stories.
Heritage | Preservation | Generational Memory Photography
In Heritage, origami cranes folded from old family photographs become vessels of memory—carriers of stories that drift between generations, reshaping what remains.
This series belongs to the field of generational memory photography, exploring how ancestral stories shape identity
Heritage | Preservation | Generational Memory” is a photographic series in which origami cranes folded from old family photographs become sculptural vessels of memory. Each crane encapsulates a fragment of ancestral presence, carrying stories that drift between generations and re-enter the present through new visual form.
This body of work merges staged photography, paper sculpture, and personal archive. The cranes—constructed from layered paper, texture, and portrait—serve as messengers that move across time: from past to present, from history into daily life, from loss into vitality. Alone or in flocks, suspended in the air, resting in domestic spaces, or intertwined with the human figure, they embody the paradox of memory reconstruction: the impossibility of fully recovering what was lost, and the simultaneous necessity of carrying it forward.
In some images, the cranes gather like a bouquet, symbolically bringing the presence of ancestors into the intimate space of home. In others, they rise against the sky, evoking spirits that guide, watch, or linger in the thresholds of personal identity. A more conflicted composition presents a swarm of cranes caught on a fence, entangled with a woman’s shirt—expressing the tension between inherited memory and the desire for self-determination.
Through these sculptural photographs, the series explores generational memory, heritage preservation, and the emotional work of deciding what we carry, what we transform, and what we release. It asks whether memory is something we inherit passively, or something we actively fold, reshape, and reimagine.
This project forms part of the artist's ongoing exploration of personal archives and the poetic reconstruction of family history—an intimate dialogue between the fragile materiality of paper and the enduring weight of generational stories.
This series belongs to the field of generational memory photography, exploring how ancestral stories shape identity
Heritage | Preservation | Generational Memory” is a photographic series in which origami cranes folded from old family photographs become sculptural vessels of memory. Each crane encapsulates a fragment of ancestral presence, carrying stories that drift between generations and re-enter the present through new visual form.
This body of work merges staged photography, paper sculpture, and personal archive. The cranes—constructed from layered paper, texture, and portrait—serve as messengers that move across time: from past to present, from history into daily life, from loss into vitality. Alone or in flocks, suspended in the air, resting in domestic spaces, or intertwined with the human figure, they embody the paradox of memory reconstruction: the impossibility of fully recovering what was lost, and the simultaneous necessity of carrying it forward.
In some images, the cranes gather like a bouquet, symbolically bringing the presence of ancestors into the intimate space of home. In others, they rise against the sky, evoking spirits that guide, watch, or linger in the thresholds of personal identity. A more conflicted composition presents a swarm of cranes caught on a fence, entangled with a woman’s shirt—expressing the tension between inherited memory and the desire for self-determination.
Through these sculptural photographs, the series explores generational memory, heritage preservation, and the emotional work of deciding what we carry, what we transform, and what we release. It asks whether memory is something we inherit passively, or something we actively fold, reshape, and reimagine.
This project forms part of the artist's ongoing exploration of personal archives and the poetic reconstruction of family history—an intimate dialogue between the fragile materiality of paper and the enduring weight of generational stories.
What is home?
Are homes truly confined by walls? This series of photographs seeks to challenge that perspective
Flat TLV
What if we stripped away both people and dimension, observing the city from a flattened perspective, where only the essence of form remains?
Brown paper
Does wrapping an object make it, non-functional, or transform it from a mundane item into something that stands out—calling attention to itself
Portratis
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