Concrete Eden

In Concrete Eden, Omer Gaash stages an encounter where two bodies fold into their environment and into each other. The series strips away identity to reveal form: one figure holding a sharper, masculine presence, the other a softer, feminine fluidity. Their movements are less posed than lived—gestures caught between intimacy and defiance, softness and tension. Gaash’s eye turns skin into landscape, limbs into contours that echo earth and matter, until body and ground seem to share a pulse. The work is not about portraiture but about relation: how flesh shapes space, how closeness becomes terrain, how a glance or touch rewrites the edges of the world around it.