The central motif in Alon Shepon's photography is the landscape. When a human figure appears in his photographs it is uniquely combined in a broader concept.   In Shepon's works man is not the focal point but a detail in his man-made surroundings.  One can see high walls, support beams, giant protecting walls, a mosaic-covered wall, (which reveals his Moslem origins) and above them all an iron pavilion with unusually fashioned carvings.  Most of the colors in his works are warm colors, yellows, browns and oranges, which create a special colorful harmony.
The landscape photographs without the presence of man inspire a mystical atmosphere bordering on surrealism.  The landscape is presented as a blank stage, ready for the plot to enfold on it; the compositions are well planned and the unique colorful lighting constructs drawings with the camera as paintbrush.  In the series of beach photographs, the rattan braided lounge chairs appear for the vacationers who are not there; the present/absent person, and the chairs are arranged partially next to one another as if conversing.  On the backs of the chairs are large black numbers.  In one of the photographs the chairs are covered with light canvas with black stripes.  The numerals and black stripes arouse feeling of discomfort.  Alon Spepon's choice to photograph this series in black and white, with sharp and dramatic contrasts, contributes to the deep expressiveness of the work.

Roni Rechav
Gallery Curator