2019
Painted Aluminium base, hand carved wood cone covered with leather and Israeli ceramics from the factory Kfar Menachem.
228 * 25 cm
Israeli ceramics is an essential element of my practice. From a clay vase that belong to my father, an archeology enthusiast, to my close connection with the Kibbutz Kfar Menachem ceramics created in the 1960s, my work triggers, among other issues, the discourse around art and craft, the division between artist and artisan, between different disciplines, with a specific focus on the Israeli context. Through the appropriation of objects, which are not readymade but in fact works by other creative individuals, I unveils their “origins” and such act stands as a key element in my artistic practice. Ceramic vases reoccurs in my works, and I sees the figures behind them, their creators, as the “catalyst” for my sculptural actions. Indeed, the vessels constitute the starting and focal point for the sculptures, they are the physical and conceptual core of these works; therefore I see the original ceramic vases are sacred object, talismans, and as an artist, I put myself in the position of finding a set of rules that will preserve them, to enhance then, to give them new life. In Past is Present, as in other works from this series, the 1960s ceramic handcrafted vase ceases to be a typical Israeli decorative element and becomes a personal symbolic element that connects me to her intimate and political history. This work is a constant search for a perspective in which the motif of time is not linear but exists in a multidimensional way; such search is in fact my motivation to perform the act of ‘extending’ the vases.
Installation view, ‘Exhibit Model #6- the Tel Aviv Version’, CCA Tel Aviv. Curator: Nicola Trezzi. Photographer: Shay Ben Efraim
Installation view, ‘Exhibit Model #6- the Tel Aviv Version’, CCA Tel Aviv. Curator: Nicola Trezzi. Photographer: Shay Ben Efraim
Installation view, ‘Exhibit Model #6- the Tel Aviv Version’, CCA Tel Aviv. Curator: Nicola Trezzi. Photographer: Shay Ben Efraim
2019,
Painted Aluminium base, hand carved wood cone covered with leather and Israeli ceramics from the factory Kfar Menachem.
228 * 25 cm
‘Future is Now’ was created;../ for an exhibition named “Only Connect” exploring spirituality and pop-shamanism, curated by Thomas Rom. Ceramic hand crafted 60’s vase ceases to be a typical Israeli decorative element and becomes a personal symbolic element that connects me to my family’s history and my political history.
Israeli ceramics is an essential element of my practice. From a clay vase that belong to my father, an archeology enthusiast, to my close connection with the Kibbutz Kfar Menachem ceramics created in the 1960s, my work triggers, among other issues, the discourse around art and craft, the division between artist and artisan, between different disciplines, with a specific focus on the Israeli context. Through the appropriation of objects, which are not readymade but in fact works by other creative individuals, I unveils their “origins” and such act stands as a key element in my artistic practice. Ceramic vases reoccurs in my works, and I sees the figures behind them, their creators, as the “catalyst” for my sculptural actions. Indeed, the vessels constitute the starting and focal point for the sculptures, they are the physical and conceptual core of these works; therefore I see the original ceramic vases are sacred object, talismans, and as an artist, I put myself in the position of finding a set of rules that will preserve them, to enhance then, to give them new life.
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Shay Ben Efraim
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
2019,
Mixed media. Wood base, hand carved wood cone covered with faux snake leather and Israeli Ceramic from the Kfar Menachem's factory.
250 * 25 cm
Israeli ceramics is an essential element of my practice. From a clay vase that belong to my father, an archeology enthusiast, to my close connection with the Kibbutz Kfar Menachem ceramics created in the 1960s, my work triggers, among other issues, the discourse around art and craft, the division between artist and artisan, between different disciplines, with a specific focus on the Israeli context. Through the appropriation of objects, which are not readymade but in fact works by other creative individuals, I unveils their “origins” and such act stands as a key element in my artistic practice. Ceramic vases reoccurs in my works, and I sees the figures behind them, their creators, as the “catalyst” for my sculptural actions. Indeed, the vessels constitute the starting and focal point for the sculptures, they are the physical and conceptual core of these works; therefore I see the original ceramic vases are sacred object, talismans, and as an artist, I put myself in the position of finding a set of rules that will preserve them, to enhance then, to give them new life. In Past is Present, as in other works from this series, the 1960s ceramic handcrafted vase ceases to be a typical Israeli decorative element and becomes a personal symbolic element that connects me to her intimate and political history.
‘Now and Never’ is about creating a quiet statement, the "additives” colors are integrating with the original vase, as if they are one. The title suggests a contradiction to the phrase “it's now or never”. In this work now and never can complete each other, offering a non compromising and eternal possibilities. I see it as a contemporary feminine tool (weapon, figurine), inspired by primitive forms of spears or lances. A delicate yet powerful ceremonial object.
Installation view, ‘Exhibit Model #6- the Tel Aviv Version’, CCA Tel Aviv. Curator: Nicola Trezzi. Photographer: Shay Ben Efraim
Installation view, ‘Exhibit Model #6- the Tel Aviv Version’, CCA Tel Aviv. Curator: Nicola Trezzi. Photographer: Shay Ben Efraim
Installation view, ‘Exhibit Model #6- the Tel Aviv Version’, CCA Tel Aviv. Curator: Nicola Trezzi. Photographer: Shay Ben Efraim
2019
18 hand sculpted polymer clay hands over painted and printed wood.
60*60 cm
The work is a series of three works, taking its name from Terence McKenna’s lecture: “Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it’s a feather bed.”
The works represent metamorphosis of a snake shape into a circle of hands. From self-healing to the power of a supportive community.
The background texture imitates a specific embroidered fabric that I came across while traveling in India. The Fabric is called Phulkari, it is made by women, for women, at important junctures in their lives: birth, marriage, etc. The aspiration was keeping the delicacy and gentleness of the fabric. By imitating it with a digital print i doubt the idea of what significance has hand made, feminine and decorative-art to art.
In contradiction to the background a I created each of the hands by hand as a tribute to the meditative process i went through while working on it.
I feel that I need to be a channel in my work. To always connect, to always let life go through meinto the studio, into my work, into my practice. To always be in a flow state as I create, so something greater, bigger than me, that is all truth can just flow through.
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
2019
Hand carved wood, polyurethane cast covered with hand stitched leather, metal details.
Work’s title is a verse from the New Testament which means that "divine" and "humane" are taken as one whole. There is a parallel between the divine and human worlds. The work functions as a ladder (perhaps Jacob’s ladder), between the high and low or as a portal through time.
The work contains hours and hours of repetitive work. The making has become a private ritual, Dialogue between man, material and action.
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
2017
Airbrush painting on fibreglass cast.
Readymade wood and stainless steel hanger.
207 * 85 cm
This is the first work from the series 'I am a Strange Loop’. Through this series I was experimenting with new ideas that later became the bread and butter of my artistic search:
The idea of combining ready made objects with elements that I create. Exploring cognitive-scientist Douglas Hofstadter's argument of self- reference, which I later refer in my work as “Authenticity”.
The search for understanding the relationship between pop and shamanism, later referred to as the concept of pop-shamanism.
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
2017
Wood box covered with felt and mirrors.
42 hand sculptured polymer clay hands and a custom hula hoop.
100 cm diameter.
This work ruminates on the impartiality of time; on the imagination of the future relying on what we know from the past; on structured joy and functional absurdity through contained constructs. This work can be used as a meditation tool, connecting between two cultural edges which I move through very frequently, Pop and shamanism.This grey cultural zone allows me to explore sub-cultures, hand crafts, spiritual tools and acting, as opposed to local or western culture in which I grew up in.
2019
16 hand sculptured polymer clay hands over painted and printed wood.
60*60 cm
The work is a series of three works, taking its name from Terence McKenna’s lecture: “Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it’s a feather bed.”
The works represent metamorphosis of a snake shape into a circle of hands. From self-healing to the power of a supportive community.
The background texture imitates a specific embroidered fabric that I came across while traveling in India. The Fabric is called Phulkari, it is made by women, for women, at important junctures in their lives: birth, marriage, etc. The aspiration was keeping the delicacy and gentleness of the fabric. By imitating it with a digital print i doubt the idea of what significance has hand made, feminine and decorative-art to art.
In contradiction to the background a I created each of the hands by hand as a tribute to the meditative process i went through while working on it.
I feel that I need to be a channel in my work. To always connect, to always let life go through meinto the studio, into my work, into my practice. To always be in a flow state as I create, so something greater, bigger than me, that is all truth can just flow through.
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig
2017
Painted brass, painted aluminium hula hoop and a lamp
105 cm diameter
2017
Wood pedestal, stainless steel hoop, painted iron, readymade brass and hand made porcelain vase.
130* 80 cm
2018
Wood box covered with hand stitched silk fabric and mirrors.
18 hand sculptured polymer clay hands and a custom hula hoop.
70 cm diameter
2019
Painted polyurethane relief over painted and printed wood.
60*60 cm
The work is a series of three works, taking its name from Terence McKenna’s lecture: “Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it’s a feather bed.”
The works represent metamorphosis of a snake shape into a circle of hands. From self-healing to the power of a supportive community.
The background texture imitates a specific embroidered fabric that I came across while traveling in India. The Fabric is called Phulkari, it is made by women, for women, at important junctures in their lives: birth, marriage, etc. The aspiration was keeping the delicacy and gentleness of the fabric. By imitating it with a digital print i doubt the idea of what significance has hand made, feminine and decorative-art to art.
In contradiction to the background a I created each of the snake and hands by hand as a tribute to the meditative process i went through while working on it.
I feel that I need to be a channel in my work. To always connect, to always let life go through meinto the studio, into my work, into my practice. To always be in a flow state as I create, so something greater, bigger than me, that is all truth can just flow through.
Installation view, ONLY CONNECT! exhibition, Braverman Gallery. Curator: Thomas Rom. Photographer: Elad Sarig