The tension between familiar subject, cartoon characters, ways of depiction and Fraiman's unremitting endeavor to mess up any feeling of convenience that comes with them, is what brings to rise a force - a familiar feeling of irritation that is attractive and engaging. Fraiman's works emphasize ambiguity and paint images of complex realities and superimposed identities in a playful way. In her work Nitzotzot (2021), named after the song by Fortis/Sakharof, we see two figures - intertwined one with another, half existent and half transparent. The painting is relating two sides of ourselves: our true personality versus our online profile. Fraiman engages with processes of digitalization in popular culture. She delves into the phenomenon of the selfie, the effect of swiping as a form of modern selfsubjectification, and the increasing interchangeability among subjects on the internet. Her work urges the viewer to reflect on what is depicted. As a recurring motive in her works, surfaces are displayed as an image within an image. These surfaces refer to the boundaries between fiction and reality, which imperceptibly merge into one another in digital space.
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