Through the medium of photography, David Adika borrows elements from the fields of art history, fashion, advertising, and underground culture in order to create images that are local and at the same time awkwardly universal. The works often carry a strong yet subtle autobiographical touch, as well as a unique interpretation of a specific lifestyle that is traditional to the region and defined by the artist as a “Middle Eastern joie de vivre”. If many of his lush images, often strikingly seductive if not disturbingly erotic, follow the aforementioned path, the artist is always aware of new avenues for his work. His last series Table Studies (2016), especially encapsulates his desire to challenge his position as artist. Continuing his long-time fascination with the still life genre, Adika is guided by the unique palette used by Giorgio Morandi in his paintings, now symbols of the suspended time still dominating our complex reality. Similarly, his upcoming photographic series, focused on the notion of ornament and décor as a metaphor for complex identity issues, will feature Israeli craft objects created in the 1960s and 1970s. These ceramic items are easily recognizable for their colorful patterns, iconic textures and use of African decorative motifs. Adding a new layer to these tactile objects, in his upcoming photo series, Adika uses photographic print on silk, linking this experiment to his long investigation of objects related to the notion of domesticity. Furthermore, through the act of intertwining the materials of the objects photographed with the materials on which the photographs are printed, Adika brings his interest in identity and the definition of aesthetic means to new horizons.