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In “Trampoline” the family literally loses the ground beneath its feet, while struggling to maintain the dinner ceremony. The act of photography, like the family, attempts to achieve absolute control; it is meticulously planned to the final detail but loses its control in the decisive moment of being up in the air, or, in other words, when faced with new, unknown circumstances. The exaggeratedly staged scenes in this photo, dealing with intense questions of intimacy and conflict within the family unit, create a sense of defamiliarization of everyday situations that usually go unnoticed. This defamiliarization points out the difficulty and inability to prepare for the complex experience of day-to-day domestic life.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

"Making of “Trampoline

In “Trampoline” the family literally loses the ground beneath its feet, while struggling to maintain the dinner ceremony. The act of photography, like the family, attempts to achieve absolute control; it is meticulously planned to the final detail but loses its control in the decisive moment of being up in the air, or, in other words, when faced with new, unknown circumstances. The exaggeratedly staged scenes in this photo, dealing with intense questions of intimacy and conflict within the family unit, create a sense of defamiliarization of everyday situations that usually go unnoticed. This defamiliarization points out the difficulty and inability to prepare for the complex experience of day-to-day domestic life.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis