In the series "Wild," direct documentation of actions based on real, autobiographical materials is replaced by the portrayal of a fictional, cinemascopic realm that creates flashbacks to Hollywood war and action films, as well as to art-historical masterpieces.
Belsky travels across the Golan Heights, in the north of Israel – a region scarred by battles and filled with minefields – like a survivor struggling to remain alive. In a number of different images, he appears wielding various weapons, setting traps and hiding under camouflage nets. At times he attempts to conquer a given terrain, and to establish his mastery and control over his surroundings. He appears as a solitary figure moving through a territory of his own making, prepared to chase away any possible invaders. Yet who is this enemy the artist prepares to encounter? The viewer may recall the literary figure of Don Quixote, preparing himself for a battle that will never take place. Yet Belsky consciously deceives the viewer by using stereotypical forms of representation in order to flirt with the almost parodic tension between the apparent credibility of the photographed scenes and their artificial nature.
Many images in this series, capture staged scenes that appear to be simultaneously shaped by a sense of epic expansiveness and by a suffocating grip; the images themselves seem to emerge out of the intimate, tomb-like spaces into which Belsky escapes, and to burrow into their depths. These small spaces, which range from existing caves to pits dug by the artist himself, may appear as protective shelters or as bunkers in which he seems to be hiding from some enemy; at the same time, they appear as the vestiges of performative and sculptural actions, which remain as a mute testimony in the outdoor space where they were created.
Sagi Refael (part of the text written for the catalouge)