Shira Wachsmann (born and not yet dead) is a multimedia artist and researcher working across moving-image, collage, drawing, augmented reality, the digital and electronic arts. Wachsmann's approach takes a sensuous and poetic form, often multi-threaded, non-linear, collective, and with emphasis on the contemporary issues of our times. Her work explores political themes of the post-anthropocene, human-interspecies-machinic evolution, interspersed with war, sexualities, and hope. Recently completed a practice-led Ph.D., Landscape, War Trauma, Explosion: Re-membering the Moment Before, which examined the complexities of war trauma – how trauma can sink into the common sense of people, undetected; how it can circulate and (re)shapes collective consciousness and with it, the very landscape of one's life. Currently teaches digital storytelling on the Digital Direction programme, School of Communication at the Royal College of Art, London UK. Shira has participated as an invited artist and speaker worldwide, including most recently in the UK/EU, the Middle East, and the global South.
Shira Wachsmann

Drawing the Line
Three skulls: the one that does not speak, the one that does not hear, and the one that does not see. The years 1948, 2024, and 1967 are inscribed on their foreheads. They are adorned with wigs made from British maps of Mandatory Palestine, updated in Hebrew after the establishment of the State of Israel. Between them, a blazing fire rises toward the sky.

Zerstört
The word “Zerstört” (destroyed, in German) is inscribed into the concrete floor. Shira Wachsmann tries, in vain, to eliminate it. The words “ort” (place) and “stört” (disturbing) are still visible. The destroyed is still present.