1975 Born in Petach Tikva
1999-2002 Camera Obscure College, Photography and Digital Arts Department, Tel Aviv, Israel

Selected Solo exhibitions:

2002 "Velvet Tide" and "Rolling Trouble", Vision gallery (Neil Folberg), Jerusalem, Israel
2009 A collection from the works: "Former Life", "Roots", " Summersault Of Thoughts", The Artists House, Jerusalem, Israel

Selected group exhibitions:

2002 "Velvet Tide" and "Rolling Trouble", Riding Art Fair, in the framework of the Vision gallery (Neil Folberg) art display, Tel Aviv
2003 "Rolling Trouble", Aipad, The Hilton, New York, in the framework of the Vision gallery (Neil Folberg) art display. Accompanied by a catalogue
2004 "Lucky to Reach Fall", Rimonim gallery, South Hampton, New York (on behalf of Vision - Neil Folberg gallery)
2006 "Darkei Eretz", Monart Museum, ("In the Paths of the Land"), Ashdod, Israel Curator: Yona Fischer. The work "Abandoned Ends" was displayed in the framework of the exhibition
2006 "50 Years of Ashdod", Monart Museum, Ashdod, Israel, Curator: Yona Fischer. The work "Sand Crow" was displayed in the framework of the exhibition
2007 "Photographia Romantica", The gallery for Experimental Art and Architecture, Technion, Haifa, Israel, Curator: Hagai Segev. The collection of works: "Abandoned Ends", "Sand Crow" and "Hidden Thoughts" was displayed in its framework

Photography Grasping Passion

"Deep-water droplet, colorful, quivering like a bird overcome with passion to guide me in its perfect light."

Yair Horowitz, All the Poems, Hakibbutz Hameuhad publishers, 2008, p. 187 [Hebrew]


"The photographer both loots and preserves, denounces and consecrates", says Susan Sontag In her famous book "On Photography" (Penguin, London 1977, p. 64). Elad Haggai Friedmann's photographs affect the viewer on a scale that connects two polarities: he denounces photographic beautification, yet at the same time, consecrates and takes pleasure in it.

Contemporary photography, as interpreted by Friedmann, does not attempt to be neutral or to represent a single, absolute truth. It offers temptation; it is seductive and intriguing, with amassed dreamlike powers that entice and engulf the viewer. The truth each image represents is charged with the sensations and emotions the viewer brings into the gallery. Moods arise like the shimmering dew drops at dawn and fade as the sun's rays intrude.

The romantic ruins and forests are in fact illusions of light breaking through the darkness. They spread pastel colored illumination, so different from contemporary colors, reminiscent of a world gone by, a soft, pleasing world so different from reality. At the same time, these colors preserve the past and its heritage denouncing the destruction of the ruins. In his photographic work friedmann offers a unique overview of his own personal sceneries, which lead the viewer towards a world of exhilarating new impressions. (Hagai Segev)