Barry Frydlender gained recognition as an artist following a series of photographs he took during the 1980s, in which he documented the bohemian clientele of the mythological Cassit café and the Tel Aviv beach. Frydlender developed an artistic vocabulary that greatly influenced young photographers and many photojournalists in Israel. Among the signature elements of this vocabulary are bright colors and flickering lights, which appear against a dark and enchanting background or in spaces lit by warm, artificial light.
In recent years, Frydlender has begun creating digitally manipulated images, which are based on fragments of reality he had documented in the past. These photographic collages have a narrative content; the composite realities Frydlender constructs juxtapose past events in a new manner, and create situations that did not exist in the original photographs. The technique he has developed – which involves compressing information and providing a continuous array of different images – allows him to create a sense of temporal duration in a single photograph, and to present a panorama of Israeli reality.
Allenby contains a variety of faces and figures captured on this Tel Aviv street – soldiers, young people, bicycle riders, people on their way to work; it combines different points of view in a way that expands the viewer's field of vision, and employs the deceiving reproductive possibilities embodied in photography. Frydlender's composite images treat photography as a medium preceding computer technology; they present it as a database, or as an archeological site whose contents are excavated by the newer medium.