in a complex dramaturgy of light and shadow, colour, points of view, printing modes etc. Dror Maayan's exhibition is thus a double invitation: to follow him to see Georgia through his eyes and to enjoy as well as appreciate his work as a photographer who continuously knows to shift between and subtly question the distinctions of the genres of the art of photography itself." (from the exhibition catalog Georgia: A Journey through the Ages. Photographs by the Artist Dror Maayan, Open University Gallery, Raanana, Israel, p. II)

Prof. Elisheva Revel-Neher, Nicolas Landau Chair in the History of Art:
"His works shows sureness and consolidation that are very rare for an artist of this stage. His works projects deep emotion and great sensitivity in the choice of forms and color... I am convinced that Dror Maayan has a great future ahead of him. His art will be classified among works which will undoubtedly be noted in the development of modern Israeli Art."

Dr. Yoni Ascher, Art History Department, University of Haifa:
"What is impressive in Maayan is the evident effortlessness in his achieving it, as if he didn't mean to. There is nothing forced in his demonstration of feeling. This emotional message, seemingly so simple yet so elusive and hard to capture, flows naturally out of the photographs. Maayan's pleasure in the act of photographing is obvious and natural too. A pure message of delight, for the artist and the viewer alike." (from CONTACT, Photography and Digital Media, Vol. 67, February-March 2004)

Avraham Eilat - Renowned Israeli Artist and Curator:
"Peter Henry Emerson (1856 - 1936), considered by many to be the father of direct photography, claimed that photography is an independent art having unique properties, that should be used and emphasized... He kept fervently claiming that whoever is unable to recognize "pictures" in nature will never be able to be an artistic photographer.

Dror Maayan apparently works in that spirit, and it may be correct to state that the principles of naturalistic photography from the beginnings of the twentieth century suit his personality. He directly photographs the subject itself, devoid of any masks or artificial effects, without overburdening it with any interpretation, without any need for camera or lighting tricks. These are simple, direct photographs, not intended to emphasize the photographer and his mannerisms, but, by means of his camera, to capture and frame the pictures caught by his glance." (from the exhibition catalog Traces of the Sea, Kinneret Zmora-Bitan Dvir Publishing House, 2007, p. 5)


Selected Exhibitions