The camera entered my life relatively late, quite accidentally and unintentionally. With the introduction of the digital camera for everyday use, I decided to study photography, in order to improve my family albums. Very quickly, I found myself immersed in a new world.
My childhood landscapes are those of Israel’s southern periphery. Both natural and urban landscapes are the central themes of my work. As an environmental-social activist, my goal is to use photography as a means of empowering and promoting social change. Using the camera, I try to turn the spotlight on the social and personal issues that are part of my life and work, which is managing and developing programs and solutions for families and preschoolers in the peripheral cities.
I usually plan my photographs for days, weeks and even months. I walk by my planned objects and sites for a long time, then visualize them while refining my goals, until the moment when I go out to take the photo, usually from a distance. Despite being an activist, and the one, who tends to walks ahead of the group, in photography, I prefer to watch from a distance, from the sidelines, and enter slowly and gradually.
In the series “Power Plant – License to Kill”, I summarize 11 years of an important environmental struggle against the plan to build a gas-fired power plant in the Be’er Tuvia industrial area. As the campaign’s leader for many years, I went out into the fields and to the areas surrounding the moshav, and photographed the encounter between nature, land and the living environment in the moshav, and between the power shovels, the gas pipes, the ‘Iskoorit’ (steel plates for roofing, covering and strengthening of structures), the cranes and all other construction materials and tools. This is a farewell project, of coming to terms with our failure and the construction of the power plant.
My series “Protective Edge” deals with the relationship between the city of Sderot and the aesthetics of the “protective shields” that have transformed the public sphere completely. The transient and improvised had become permanent, and transformed the relationship between the residents and their city. Through photography, I examine the habits of the residents in their city, and how concrete and shielding permeate the daily routine. It is direct, untreated, classic street photography of the urban environment of Sderot and its residents.
Another series I did is “The Heart of Town”, which depicts the neglect and disintegration of the centers in peripheral towns in Israel. These centers, the once throbbing heart of town, were abandoned, and became a home for the homeless and people on the fringe of society. In this series, I also use classic street photography, mostly from the sidelines, observing the crumbling parts, the signs of time and neglect, the old shops and the local characters, for whom time seems to have stopped.
Born in 1972 , lives and works in Israel.
Adva Kaplan Dror is a Landscape and Documentary Photography Artist. In her work, Adva explores the daily routines and habitats of the peripheral landscapes in Israel. As a Social & Environmental Activist, Adva uses photography as means for empowerment and promotion of social change.
2017 on – Photography for Forty-Something, “Musrara the Naggar Multidisciplinary School of Art and Society”, Jerusalem.
2011-2012 – Photography for beginners, “Tal Israel Photography School”, Achva College.