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| | | Graduate of the Ceramic and Glass Design Department at Bezalel, works and teaches at her own studio in Karmei Joseph, takes part at exhibitions in Israel and worldwide.
She has participated in the following exhibitions (partial list):
2006 – “Sealed with Material", Group Exhibition, Art Gallery Umm el-Fahem
2007 - "Territory and Identity - Between Ceramics and Architecture", Fourth Biennale of Ceramics, Eretz Israel Museum, Tel Aviv
2008 – “Material and emotion”, "Fifth Biennale of Ceramics, Eretz Israel Museum, Tel Aviv
2010 – “Connecting Touch" - Group Exhibition, Museum of Arts, Tel Aviv
2011 – “Solo Exhibition" for two, Periscope Gallery, Tel Aviv
| | Vessel and Stand, Touch and Feel Objects
Two parts that look identical, although they are different.
Wood and material
The work consists of two white stands, in which inside are "hidden" two vessels with the shape of a jug. The spectator is to insert his hand into the jug cavity and touch the work, while in the inside of each volume will be detected, by using the sense of touch, a dialogue between material and content.
The work raises a number of attitudes on different levels:
Morphological level - Representative
The familiar and routine stand, usually appearing as a platform to display ceramics, is placed as an inseparable part of the object displayed.
Instead of being the piece on top of which the work lies, serving as a neutral anchor and not getting any attention, the stand becomes a piece by itself, a piece that contains the object displayed.
Relationship level between the spectator and the object
To decrypt the image displayed, the spectator is required to use other senses than the sense of sight. The spectator cannot see the piece. He is to put his hand inside and touch it, the “interpretation” is done through the touch.
Against the "unknown" of the object and inserting the hand into the cavity which is not exposed and evident, a conflict arises between curiosity and the desire to insert, to feel, to check on the one hand, and the fear of the unknown, of injury or unpleasant feeling on the other hand.
Above all we have the infringed convention not to touch the works of art displayed in museum or gallery spaces.
Here there are dependencies between the spectator and the work displayed, the existence of the work depends on the “spectator’s” willingness to insert his hand and touch it, otherwise there is no validity to the work and actually it does not exist for those who don’t touch it.
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