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Aviya Wyse was born in 1988‭ ‬in Haifa, Israel, to British parents‭.‬

While still studying at‭ ‬the Wizo NB Haifa Academy of Design and Education, she won both the Sharett scholarship from the America-Israel‭ ‬Cultural foundation and the Shpilman Institute for Photography Award‭.‬


Aviya‘s art deals with the synergy between life‭ ‬and death‭.‬ With her analogue photographic technique she creates installations‭ ‬that construct an archive of bodies with which she commemorates‭ ‬the lives of the living‭.‬

Since‭ ‬graduating in 2013,‭ ‬Wyse’s art was exhibited‭, ‬among others‭, ‬in the Mediation Biennale‭, ‬Poznan‭, ‬Poland‭, ‬the Pink cube gallery‭, ‬Oslo‭, ‬Norway,

At TJ BOULTING Gallery, London, UK. 

And At Compagnietheater Amsterdam Designing A Set For A contemporary Opera piece . 

Her works were featured in GIRL ON GIRL‭, ‬art‭ ‬and photography in the age of the female gaze‭, ‬a‭ ‬book by Charlotte Jansen‭. ‬

In 2018‭ ‬Vogue Magazine named her‭ ‬among the 100‭ ‬most inspiring artists of the year‭.‬

Her work was featured on the cover of NUMERO Magazine, And FRAUILEIN Magazine. 

She was also named by ELEPHANT Magazine - Among the rising Art stars of 2019.  British journal of Photography -  1854’s Fast Track Vol. 2 Winner, 2021. ‭  


  • Agents, Stephanie Kelly Gallery, Dresden, January 2017

  • Melanin, joint exhibition with Rachel Erez, Israeli Art Museum, Ramat Gan, May 2015.

  • Battle 15: Wyse + Gabriely vs. Birkeland + Kleiva, Pink cube gallery, Oslo, June 2014.

  • Wyse + Gabriely, Maurice Einhardt Neu Gallery, London, February 2014.


  • NEW RAW GREEN Group show At Sim Smith Gallery, London, UK, July 2020.

  • "BIRTH" Group show At TJ BOULTING Gallery, London, UK, october 2019.

  • "EROTICA" Group show At Blank Space, Oslo , Norway, august 2019

  • "Vrouwenstemmen" , Womens voices An Operatic Exhibition -Compagnietheater Amsterdam, Holland, August 2019.

  • "MATZPEN" Group Show Beit Kandidof, Tel Aviv Yafo, Israel, July 2019.

  •  Hellerau Portraits Award, March 2018.

  • Hellerau, Adolf Appia Utopie, Bodies, Dresden, Germany, October 2017.

  • Meitar Award. The international Photography Festival , November 2017.

  • Sacred space VI. Love , Dzyga gallery, Lviv, Ukraine, April 2017

  • Mediation Biennale, Poznan, Poland, October 2016

  • Ostrale: Error-x, Dresden, July 2016.

  • Container, Tel-Aviv, April 2016.

  • Polaris, Gate no. 3, Haifa, April 2016.

  • 'Elsewhere' video art night, Travak Brabant Tram Gent, Belgium, November 2015.

  • Eves, Bet-Romano, Tel-Aviv, October 2015.

  • The 7th Fresh Paint fair, Tel-Aviv, November 2014.

  • 'Musrara', Jerusalem, May 2014.

  • Showroom, Inga Gallery of Contemporary Art, Tel-Aviv, February 2014. 

  • The Feminine Man, Zimmer, Tel-Aviv, December 2014.

  • Feather and Lead, The Neri Bloomfield Gallery, Haifa, October 2013.

  • Exhibition of the AICF at the Lincoln Center, New-York, November 2013.

  • Barbarian Love, 'Mirpeset', Haifa, October 2013.

  • One/Many, Art gallery in the Kiryat Tivon Memorial Center, July 2012.


  • FRAUILEIN magazine, "LIFE" issue Cover Feature 2021. 

  • FRAUILEIN magazine, “BIRTH“ issue Cover Feature 2020.

  • FRAUILEIN magazine,"POWER" issue Cover Shoot 2019.

  • ELEPHANT magazine : Wyses Portraits reveal primitive nature Of Parenting, By Charlotte Jansen, 2019.


  • ELEPHANT magazine : Ones to watch: The Rising Art Stars Of 2019. By Charlotte Jansen.

  • NUMÉRO BERLIN magazine,Cover Shoot The Rot Issue 5 . 2018.

  • FRAUILEIN magazine, UTOPIE Cover Shoot 2018.

  • VOGUE ITALIA , Photographing the female, By Chiara Bardelli Nonino 2018.

  • VOGUE WORLD, 100 People who inspire, 2018.

  • GIRL ON GIRL : Art and Photography in the Age of the Female Gaze

  • Book By Charlotte Jansen, published by Laurence King, p. 24-29. 2017.

  • THE HUFFINGTON POST , by Maddie Krum, 2017.

  • MILK AND HONEY magazine issue 1, innocence, 2017.

  • NEPHILIM magazine, by klone yourself 2016.

  • ARTSLAND magazine, “Under the Radar“, 2015.

  • CENTERFOLD MAGAZINE, Andrew G. Hobbs, 2015.

  • TIME OUT Tel-Aviv,“ to know a women“ by Orna gatanio- shnaid, 2014.

  • OFF BLACK magazine, interview, 2014.

  • HUNGER TV Wyse & Gabriely interview 2014.

  • WE HEART magazine, “Girl power“ by Rob Wilkes 2014.

  • DAZED AND CONFUSED magazine, “Daughters of Frankenstein“ by Charlotte Jansen 2013.


* Horror Vacui - (a Latin - derived term) meaning, " Fear of emptiness." 

For over 10 years now I have been constructing an archive, absent of order or hierarchy.

My collecting is compulsive, not scientific; My photographic work is largely the concrete expression of an obsession with something intangible. The work is akin to that of obsessive compulsives, for whom the property they collect functions as a protective wall cutting them off from the world. There is one significant difference, I collects living people, an archive of images of living bodies.


There is no way to begin the story of this work without the private biography that is the blood of labour. I was 17 when my mother died; My family and I were her caregivers in the period before her death.  The smell of death, of trying to hold on to life, of daily Sisyphean cleaning of bodily secretions and of rotting flesh on the body which was still alive, is all engulfing from the earliest stages of the work.


I began my photographic career by photographing the women closest to me. When the inventory was exhausted and the thirst to find the one woman who would forever be absent from this photographic collection was dissatisfied, I began to appeal to women i did not know and started to set intimate photographic meetings with them.

I searched for women everywhere.


The photographic session usually takes place in the homes of the women and is experienced almost as a show - deviated from reality, the creation of an artificial cell in the flow of life.

The truly meaningful encounter with the women began paradoxically only when I was alone again, and the smells of the chemicals began to fill the darkroom.

Only at this stage am I able to study them in depth, retrospectively, and only at this stage do I leave my most significant mark on the figure: through various manipulations that transmit to the photographic material, the characters usually suffer injuries and bruises, stains and blemishes.

The women began to pile up, on the walls of the house, on the floor, on the furniture - I printed obsessively, the bodies piled on each other like a kind of a huge sister's grave, trying to preserve this "army of women" while digging a grave for them. Those who acted as models are all living women, for the time being. the use of traditional photographic techniques, black-and-white printing overlaps them prematurely, attributing them to the world that has passed, lost, dead. I search for the dead mother in life, but instead of the desired resuscitation I achieve the opposite result, the death of the living. Photography after all will give all these women a sort of life after they themselves are buried.

These battalions, which are layers of images in a larger archive than the sum of its parts, become a protective army and symbolise something abstract beyond themselves. This is not one woman or another but a concept.


My look may be deceptive. On the surface, a re-reading of the masculine gaze that has always mediated women and their private sovereignty, the exposed body, into a spectator. But as the process progressed, this look began to appear, disturbingly, as strikingly masculine: it became evident to me that in a way I have turned these women into material.

And with time, the gaze becomes external, not looking inward but concentrating more and more on the surface, the body, the material, the mass. The private features, against their will, began to be erased by virtue of the mass and volume that the work had accumulated. Another woman, another woman and another woman, all joined the archive whose name does not recognise the uniqueness of the subjects that make it.

My photography began, more and more, to take on a kind of research-scientific, perhaps, or criminal or criminological; systematic study.


Then the men appeared. I moved to East Germany and began to hunt for new prey, The reversal of roles was first completed.

The dressed man who looks at the woman undressing for him, and subdues this body into eternal exposed nakedness, is now the woman artist.

The arena, German soil, is charging the work all the more forcefully.

For in the absence of a mother, I am still a searching child, who controls myself through the medium on a growing line of grown men.

The naked men, it turned out, were much more uncomfortable than the women. with limp limbs, exposed and vulnerable.

By the time it reached German soil, my work seemed to be indifferent to time and place; temporarily, timeless and non-local. But the place is never neutral, and this realisation gradually faded as I walked through the streets and forests of post-war East Germany, where everything still smelled of the forced occupation of a society that was already crumbling, a space littered with monuments and testimonies of another time.

The action on German soil actually became an essential element of my work.

Suddenly, my work, which expropriates the personal and private elements from the photographed beings, transforms them into a pure physical element, a mechanism whose action reminisces the crime of the Nazi machine that expropriated the same personal element from the human being in favour of the "non-private,

reduced humans into a body / body mixed with other bodies / bodies stacked together.

The mass physical mix on the enormous walls that I build earlier erased the identity, but now I began to feel that I was making a distinct use of the raw material as raw material.


The last few years I have found my work is changing very much into colour into nature, in a way almost back into life, the celebration of life.

From mass installations of individual people stacked together I have found my way lately into more and more group photos which are bringing strangers in an intimate empowering experience together.   

As I myself am growing away from my own grief my works as well are evolving. it is not only focusing on women, men, germans jews, but on Life as it is. I'm allowing my work to be Happy, to have hope , beauty and light.

My work has always been a documentation of the synergy between life and death. While my ongoing project draws from my personal history it has now evolved into a broader discussion about Jewish history, or my relationship to it. and now over the years my series of portraits has extended to become a human, existential record; a proof of existence.

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