Family Package Light works Slip of Tongue Self Portrait other works
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Family Package
Objects are wrapped with rough linen or jute which I sew very tightly, by handwork. The wrapping appears like the human skin: it both reveals and conceals. It emphasizes the object's morphology but hides the nature of the object. The result is elusive and enigmatic like memory.
I am interested in images and materials overcharged with meanings and associations. Every word and image carry in it something that we cannot grasp completely with our minds. I deal with my private memories, which appear to be political as well as cultural issues. I am concerned with the way the past intervenes with the present. Linen and jute sacks were originally used to transport dry food ingredients and bear various material and metaphoric associations: sack was a biblical gown of mourning its color echoes the desert landscape and the summer dryness. It is a signifier of war (piles of sacks filled with sand are used for army and civil defense).
I am interested in issues as objects of memory and memory versus souvenirs, landscape as a political and personal site. and also preserving second hand memories of the holocaust without actually being there. These arouses an endless flow back and forth between “Here” (Israel) and “There” (Europe).
Light works "Previous to darkness you see light"
The light functions as preliminary condition for seeing.
Lighting is a dominant component in these works as an image, metaphor and as illumination.
Light is always an expression of the sublime as well as a cliché in our collective consciousness. I like the idea the very privat interior beeing actually connected to public and to each other through electricity network .
click Slip of Tongue
This installation includes fifty small-scale artworks. which were created in the last three years.
Making the works was a kind of ritual I needed to creat a the transition from the outside world to the inner space of the studio.
The works are hybrids of small objects-leftovers from my pervious art works and fragments I found on my way to the studio such as small boxes and wheels, piano fragments, photos, postcards and etc. ).
The different fragments are joined with resins, glue, wire, binding and screwing.
Although the crossbreeding creates a new object it still caries the original identity and the history of each fragment.
Every work is like a visual word or sentence creating a syntax of broken speech in the gallery space .
The leftovers that construct the works are signs to the lives they were thrown from.
My works are not about the objects I use but about the way my interest meets the objects.
The small scale works originated from life, expresse the fusing between inner privat life and the difficult political and social events that build up the current Israeli existence.
click Self Portrait
"Self portrait of a lovely artist"
Self portrait by definition represents subjectivity through likeness and other visual equivalence. The sculptures are casted in polyester resin and originat from a single casting of my own head.
All those head images represent the ways in which culture represented women over ages: witch, mad women ect., bearing fears of maternal power.
Usually I like my work to operate on both sensual and intellectual levels, although in this case the chosen material and the way I use it deny the sensuousness of the flesh.
Some of the images of my head are resting on the floor as to manifest the tension between power and desire. In mythological stories castrated heads represent the male female struggle which is based on power and desire.
The head represents human’s abilities to think, to represent, to imagine, and to create images.
"Face are prior to Eros and libido…face demand communication.." says E.Levinas, yet the castrated head represents a painful and destructive component, in Julia Kristeva's words:" The horrible theme (decapitation) takes us to the heart of the human: to the proximity of extreme cruelty, our intrinsic violence, and our most precious and most specifically human capacity, the capacity to represent and to think."(Julia Kristeva,art press 235) .
The opposite room contained four halves horses; made of iron construction covered with paper and although they looked skinny and dry they transmit an erotic sensuous.In each horse there is an artwork created by four womenartists to my specific request.
The two rooms represent two different ways of relating to the my self portrait.
