2019

Works // Soft-Golden-Flowers // Used Land // 7th Biennle for Drawing

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Fabrics and threads are very familiar materials to me and they built the landscape of my life.  My color culture is built on them and through them I tell the story of my life.  I am returning  to the fabrics and threads after many years that were not present clearly in my work, this year they are on the desktop as a new/old component alongside the paper and pencil.

About 7th Biennale for Drawing

‏Used land |  Flat Volumes, is a drawing installation, Mixed Media, based on a place and its location.  Working on paper, wall, sometimes floor, extracting from reality  imaginary spatial outlines, flattening reality on paper and returning it to the space on the wall, adding elements which take the work back outside  the Gallery.

The work 'Soft Golden Flowers' consists of paper and fabric in a long process of repeated actions, connecting and disconnecting, covering and uncovering. Each action leads to the next and each one is as significant as the plot in the story.

 

The white paper allows me a fresh, white start, full of possibilities. It represents freedom for me but also a burden. The paper in this work is particularly thick and simulates a body absorbing the actions of time. The character of a fabric is to cover and to protect,  in my experience it contains memories of my mother sewing and me weaving.

 

I chose water as a third component in the process, as an ongoing purifier, emphasizing actions but also blurring them. Before each operation I wet the paper to soften it, in order to unite it to the fabric, an action which contains force and manipulation for the reason that both have different and contrasting properties. The fabric is inherently soft, used to covering or wrapping the paper, sometimes it sticks and sometimes tears from the paper. The water makes it possible to see traces of the actions taken in the process.

 

My first action on the wet paper is drawing with a colorless tip, as opposed to drawing with a pencil done on the top layer of a paper, here the tip penetrates deep, leaving grooves and dents.

Part of the drawing is not visible and is only revealed later in diluted watercolor painting. The paint penetrates and spreads in the grooves, painting most layers of paper. The water colors overlap and do not cover each other.

At the end of each operation the paper or the fabric dries. Traces of all the actions are visible on the paper or on the fabric and thus a fourth component in the work appears and is time. Each action on the timeline constructs the next action until the fabric is attached or rejected to the paper.

Plaster board and a dream house. A photograph of a building neatly buried on the surface of a plaster mold. The building looks frozen in time, detached from its natural environment. Presented as an abstract concept devoid of a private narrative.

 

The work deals with banality, fear and longing.

 

The whiteness of the plaster meets with the images of the structure, surrounding and embracing it with its purity, allows for something new to grow and but also fixes it. The mold ends within the boundaries of a familiar size, neither too large nor too small, a familiar and non-threatening format.

 

The building is photographed at an angle that emphasizes it as a sacred value / temple, enhancing non-idol beauty and a passion for a personal, protective and guarding place. The "negligence and ugliness" must not be ignored, a harsh reality has found a place, a sacred place with a shattered dream.

 

The work raises many questions such as: does a geometric shape in which we live, usually a cube, limits and shapes thought? Is it evidence of disability, low ability, a strong tendency to see the world as a square, unequivocal way that is not empathetic to change? Is it evidence of a primary, existential need?Thus the question arises whether is this the right form and the shape in which we live all our lives and in which we are buried?