The art collection "Into The Box" emerges as a poignant reflection on our ability to find creativity and inspiration even in the most constrained moments. As the artistic world navigates through a period marked by uncertainty, this collection illustrates the perseverance and ingenuity of artists who transform isolation into a profound source of inspiration. Conceived by the visual artist Idan Wizen during the second lockdown in France, "Into The Box" was born from a context where access to the outside world and the public was restricted. Deprived of the presence of his usual photographic subjects, Wizen then turned to himself and his collaborators as models, exploring the intimate and universal dimensions of the human experience in times of crisis. The box, the central element of this collection, symbolizes the confined space in which we were all forced to find ourselves. Through this metaphor, the works explore a range of intensely felt emotions during confinement - from frustration and anger to contemplation and apathy. Each piece captures the essence of forced introspection, revealing the complex and often contradictory emotions that coexist within us. "Into The Box" also poses a provocative question: is our feeling of confinement solely due to the Covid-19 pandemic, or is it amplified by the barriers we erect ourselves? By exploring this idea, the collection invites reflection on how our personal "comfort bubbles" can sometimes turn into prisons, limiting our emotional experience and our relationship with the outside world. Through "Into The Box," Idan Wizen does not merely document a historically challenging period; he offers a mirror in which we can all look at ourselves, question our own resilience, and our ability to find light, even in the deepest darkness. This collection is an invitation to embrace all our emotions and to recognize the beauty and strength that emerge from vulnerability.

In today's society, we often find ourselves chained by different problems such as social networks, over-consumption, work, unhealthy relationships. Emancipation and self-fulfillment are therefore key elements needed in the pursuit of happiness. To achieve this, however, we must face many obstacles, challenges, and hinders. The objective of the new ongoing Hinders collection is to show how much humanity is blinded by everyday issues not realizing those chains around.

Idan Wizen's "Virtual Street Art" collection boldly merges urban architecture with raw humanity. In this innovative series, Wizen superimposes nude bodies from his Purity collection of the "Un Anonyme Nu Dans Le Salon" project onto architectural shots of cities, integrating these human forms onto building facades as if they were street art murals. These digital artworks, which blend the rigidity of urban structures with the vulnerability of the flesh, invite a critical reflection on the visibility of nudity in public spaces. They highlight a stark contrast with the trivialization of violence and weapons, shedding light on how society prioritizes and reacts to different forms of representation. "Virtual Street Art" is not just a tribute to the beauty of the human body; it is also a provocative commentary on the social and cultural norms that govern our perception of what is acceptable and what is not. By placing nudity at the heart of streets, Wizen challenges taboos and sparks a necessary dialogue on freedom of expression and the boundaries of censorship in art and public life. Explore this collection, where each image is an invitation to question the codes of our society and to reassess our comfort with nudity, so vividly contrasted against the everyday symbols of conflict and confrontation.

“Who’s That Nude in the Living Room?” is a unique artistic project which aims to constitute the largest photographic series ever made representing humanity as it is, in its most natural state, its nudity and its diversity. Developed by photographer Idan Wizen, this concept of photographic art aims to bring together thousands of models, volunteers of all ages and from all social categories to constitute a huge gallery of portraits of men and women of today who have agreed to show themselves as they are, nude. These photographs, in their multitude and the originality of each one of them, their dynamism and their naturalness, show to universal human beauty, far beyond the restrictive socio-cultural and aesthetic criteria of our time. Anyone who poses in his simplest device participates by his own personality, his differences and his particularities in the universality of humankind. Idan Wizen has chosen to exacerbate the true authenticity of each of his models, breaking their possible masks, exposing through each of them, the simple and nude beauty of human nature. He also defies the usual criteria of nude photography with his shocking photos, with a strong artistic bias, where the spontaneous provocation of one model can interact with the cheerful and naive expression of another or the modest revelation of a third. Through the uniformity of the beauty criteria of our society as well as its modes of expression, “Who’s That Nude in the Living Room?” opposes the multitude, the variety, the strength of character, the movement, the surprising and the natural to the state gross of mankind. Each photo is unique just like its model and never touched up. This inevitably challenges us and creates in us a curious feeling of closeness, of belonging. Because these models are all of us. Moved or upset by the freshness of a smile, the roundness of a curve, a playful look, a cry of defiance or the fragility of a silhouette, we would like to keep one of these photos with us, the image of a being among the multitude of the human race, a nude in the living room!

Idan Wizen wanted to represent an intergenerational dialogue between the audience of today and the representation of the children of the future. Far from a pessimistic vision of the future, it expresses the urgent need to sound the alarm for the sake of our planet and the children to come. Through this photographic series, he urges the viewer to understand that his actions and inactions have consequences in a future going well beyond his existence and that he has a responsibility to choose beyond his immediate interest. The underlying question of this work is of course the irreversibility of our choices and our actions: will one day be too late to reverse the course of things and can we eternally put the problems to tomorrow?