2019

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

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Many applications can refine changes.

This window, 2017, summarizes works on many surfaces, at the first sight they seem too simple or too different. Two axes are held on the same work, an inner one and the second far out , they do not meet but depend on each other as if they are together.

"Together" is shown but there are still no words yet to explain the connection between them, In the meantime it is only noticeable.

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.

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© Michal Gilboa David 2017