In the exhibition In Sight, Ginsburgh Hofkin continues her exploration of the relationship between the specificity of a certain landscape and her personal response to the place. She expresses that her “photographs are distillations of perception and experience that make frequent use of metaphor. Imagination and reality interact with one another.” In Sight is a culmination of the artist’s desire to collapse the boundaries between the physical landscape and our spiritual relationship to our surroundings.

In Sight includes both silver gelatin prints that are selenium toned and archival inkjet prints on Hahnemuhle Photo Rag paper. Working primarily with black and white infrared film has allowed Ginsburgh Hofkin to accentuate the contrast between light and shadow by presenting a spectrum of light usually unseen by the human eye. The artist’s work in this exhibition brings into sharp focus her appreciation for the preciousness and the fleeting nature of the moment. She writes: “The medium of photography demonstrates the fact that light itself is not visible until it reveals something.”

One series of the photographs on exhibit are a result of Ginsburgh Hofkin’s 2001 participation in a cultural exchange with Israeli artists and her regular return trips to the country. These works exemplify the dreamlike and ethereal qualities Ginsburgh Hofkin communicates in all her photographs – how she visually articulates a fascination with the mysterious, spiritual quality of light. In Isreal-03-7 the extreme shift in tonality between land and sky is unearthly and surreal. Although the photograph depicts an Israeli hillside, the image transcends any attempt to be anchored only to the specific time and place.