In Reich's photographs, the objects, places and landscapes which are found detached from their natural backgrounds and contexts, enable the emergence of new combinations. These combinations do not only echo from one piece to the other, but also within the internal space of each image in itself, and arouse on their part, awareness to the possibility of alternate active forms. Consequently, the relationship between states of wholeness and states of distortion in the pictures, arise the possibility of a collision between different kinds of materials, though at the same time, they enable us to experience what is cloaked underneath these states, and realize the metaphysical potential they conceal. The photographs do not offer arranged subject matters or a forced narrative, neither do they reveal a unity of place, time or action beyond the rhythmical collisions that interlace one image with the other. Instead, Einat Reich's work is a kind of accumulation of existence, which is the sheer act of creating a picture. Although mysterious and ambivalent, the only real place is the one set within the photographic film. Gilad Ophir, 2011