Natural Treasures
representations of nature in textiles

14.05.2022 – 28.07.2022

Curators: Efi Gen, Vera Pilpul, Keren Weisshaus

“In the beginning everything was made of textile. People lived in tents, babies were born in textiles, people were buried in textiles, textile was an inseparable part of our lives. Now, it is reintegrating and I believe that it is the material of the twenty-first century and that architecture, transportation, bridges, health, art, design and fashion – everything will be made of textiles of all kinds.”

Over the past two years, we have experienced a dissonance between shutting in and stepping out of lockdowns, between having to wrap ourselves, defending ourselves against the threat of an epidemic, and longing for a soft and comforting touch, an exodus to nature. Textile is essentially a material that envelops and protects the body, creating a buffer between it and the environment. As such, it is a wonderful agent for representing the longings and dilemmas we have all been facing. The textile, for its colors, patterns and textures, simulates and corresponds with nature and its many representations; The flora and fauna, animal skin, vegetation, natural landscapes – all serve as a basis for inspiration, imitation, model creation, decoration, camouflage and also as a source of power and great influence for creators, designers and artists.

The group exhibition, featuring works by 18 artists, aims to offer a position that addresses the tension, as well as the connection between representations of nature and textile, as perceived by them and the way they pour and encode the world of their personal, social images, metaphors and symbolism. The viewer is given the opportunity to examine the image of nature that emerged from this process of research and distillation.

Some of the artists used traditional textile techniques (sewing, embroidery, knitting, etc.), producing simulations of nature that illustrate the space between nature and man-made artifacts. Others utilized the techniques and practices of textile and transferred them to other material worlds (e.g. to lace made of paper, to embroidery in porcelain, or to a rug made of adhesive paper). The works of Maria Merfeld, Amalia Frank, Bianca Severijns, Lida Sharet Masad and Dalia Fisch Benari use a material that replaces the textile while also attempting to resemble it, using a laborious handicraft practice that produces multiplicity, if not excess.

In the case of Yuval Etzioni, Ilana Efrati, Gali Cnaani and Ella Amitay Sadovsky, textiles are actually used in the works, but go beyond their function. In Ilana Efrati’s work it is used as a substrate for actions that accelerate the processes of nature, Yuval Etzioni uses pieces of synthetic grass represented by carpet parts, creating vistas of agricultural fields. For Ella Amitai Sadovsky, the textile produces the landscape and even the domesticated nature, as Gali Canaani deals with fiber and the basic components of textile and weaving. the textile is joined by embroidery as a central practice, and the personal and distinct handwriting of the artist becomes as clear as day in the works of Bracha Guy and Itamar Sagi.

Using wool, Anna Milman created a world that is simultaneously a warm blanket and an up-to-date landscape image of natural and industrialized realms. Andi Arnovitz uses textiles to create a socio-critical statement about ‘cover’ within a gender context. Tal Shochat deals extensively with a dialectical space between the outside and the inside, between nature and the artificial. She detaches a carpet full of ornamentation from its natural location and turns it into the backdrop of a pomegranate-laden tree. In doing so, she creates a dreamy and sublime space, with meticulous aesthetics and abundant beauty.

Nadia Adina Rose poetically uses the soft and homely properties of the textile to reach into an external natural landscape that is linked to personal experiences. Noga Yudkovik Etzioni presents a threatening nature through the creation of ‘second skin’ in fabric. The works of Arie Berkowitz and Rotem Finzi as well as the works of Ella Amitay Sadovsky connect and deal with the meanings, material and physical closeness between humans and animals, woven through these fabrics, telling a narrative that is perhaps a wish, a longing for an imminent, symbolic, emotional connection.

The exhibition presents artistic metamorphoses inspired by the beauty and seduction of nature, through techniques of sewing, embroidery, knitting, weaving as well as new materials that turn textile into a representational, symbolic and researchable site. Is it a pastoral nature? Does it pose a threat, or is it moments before extinction? Is there a romanticization left in the process and in the image itself? or is the textile getting an extreme, colorful, laborious expression, and perhaps nature is free of all these and has withered.

Text: Efi Gen, Vera Pilpul, Keren Weisshaus

Noga Yudkovik Etzioni

Fermata

At first glance we can feel the modesty of the paintings. What does ‘modest’ mean? Their power is not in their declaration, their beauty is not related to size or color, or to a specific composition, but to a quiet complex that conjures a stopping of the gaze, alongside times (not one time) that take place at the same time within the painting.

Sigal observes and draws as a witness-narrator, telling about the characters they met or events they experienced and therefore they are involved in the story. Sometimes the observation is done outside, sometimes inside the studio or from its viewing point. A view of a balcony and flower pots, a man, a movement trapped, that one he left among his objects. Sigal grasps her chosen points of view, ‘pieces of space’, gently, softly, while at the same time refining the movement from the inside to the outside, from her to the object and back. It seems that Sigal’s act of observation and painting, as well as the observation that painting allows the viewer, are related to the silence and concentration so opposite to the disturbing noise of inner chatter.

Sigal Tsabari’s paintings are evidence of ‘the passing’ in drawing and color, the beauty that carries the independence of place and time. ‘Fermata’ offers the possibility of thinking about reality, or the world of phenomena or images before us, and of pictorial action as an illusion, or as a particular conception of reality.
Inside the exhibition space is a film, shot and edited by Eran Ackerman. A special opportunity to hear Sigal Tsabari ‘On Painting’ as well as two of the subjects of her portrait paintings speak about the experience: Prof. Ariel Hirschfeld and Eran Ackerman.
* Fermata is a musical sign that indicates the lengthening of a note to an indefinite extent. Sigal Tsabari is a musician and an orchestra member, hence the connection between the musical pause / format and a pause in looking at a painting as the title of the exhibition.

Yuval Etzioni

The ‘lamenters’ were created following a series of drawings depicting wounded soldiers with a large bandage covering their faces. A series that dealt with the expression of a violent and blind reality. In the lamenter’s series, the bandage became a handkerchief that symbolizes sorrow and loss through the act of covering and hiding; it shows injury even without concretely marking the location of the wound. The handkerchief is reminiscent of ‘The Handkerchief of St. Veronica’ (According to the Book of Saints, Veronica was a devout woman from Jerusalem who gave Jesus her handkerchief so that he could wipe his forehead as he advanced to Golgotha Hill.

Jesus wiped away his sweat and when he returned the handkerchief, his features appeared on it). The assimilation of the image in the folds of the handkerchief is also reminiscent of the properties of paper itself, which imprints a seal. It is a reflection on the formation of an image and on the spirit enacted in the material: the male figures, flesh and blood, imprint themselves in paper which exposes and hides them. The handkerchief is a shelter and a hiding place. It wraps and protects but also eliminates the face. It nullifies them, empties them of the gaze and of the ability to observe and identify them. By the sheer act of covering, the familiar becomes hidden. The protective fabric is deceptive in its honesty, and the hiding of the eyes canals the ability to decipher the gaze.
“I wanted to create a contemporary look at lamentation. An expression of mourning for the shortness of life, the passing youth and missed opportunities. Their gaze, lost in the handkerchief fabric conveys vulnerability, but also blockage and the inability to reach them. Because of the size of the drawing they are perceived as present and powerful, and yet by erasing their faces they return to the white page, to the absence. Instead of lamenting women, the men weep for their role.”

Bianca Severijns

Tears in the Rain

In contrast, the movement of the gaze in a selection or group allows us to identify language, chapters, differences alongside connections, and especially allows us to move from the particular, the personal – towards the common denominator. The daily act of sharing is reminiscent of a ‘calligraphic-diary’, and is done in a fixed format, usually on A3 paper in ink and water. “The series of ink sketches started during the first lockdown and became almost a daily practice. The practice of working with wet ink, similar to watercolor technique that gives way to the randomness of the ink spreading on the paper. The drawings are relatively quick and done in one sitting, they require a certain moment of concentration and devotion,

after which I feel as if I’ve just been immersed in water. The product is a drawing of an inner feeling. The drawing in ink is not a painting, it is not spectacular, it is fast, expressive, less controlled, very naked and it is a sort of daily communication with myself. Everything is syntax .. I have a huge database of images that I collect and save through searching on the internet and social networks, and these relate to the gothic, monstrous, animalistic, to the cinema and early-Hollywood glam. In the process I sometimes combine two images and attach a sentence taken from different movie frames. I’m looking for a new connection between image and text, one that evokes an imaginary third image, a bit like looking through the third eye. “
Attoun’s drawings create a world of symbolic connections, mystical, esoteric relations, in which there is an observation of the role of images in life. We encounter archetypal, mythological, philosophical and psychological territories.
* Tears in the Rain – ״all those moments will be lost in time, like tears in rain״ A quote from the film ‘Blade Runner’; Roy the replicant’s speech, right before his life cycle concludes.

Maria Merfeld

The objects of the painting are familiar, faces the artist meets on a daily basis, but dealing pictorially with the figure of a close family member is not necessarily simple. The exterior views, nature, and non-family portraits which were central themes in Tubis’ work in the previous decade have made way for personal portraits, a natural segment in the artist’s growth. The painted character (woman / son / daughter) appears on a selected and treated background.

Each portrait receives a different treatment. The chosen body position, sitting or standing, the background and its properties, the connection between the background and the character, the color palette; all carry meanings, layered on top of each other in Alex’s work. The painting holds depth, volume, space and emotional intensity, betraying a warm and pulsating emotion alongside immense loneliness.

​Nadia Adina Rose

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

​Ilana Efrati

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Anna Milman

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Lida Sharet Masad

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Tal Shochat

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

​Dalia Fisch Benari

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Rotem Finzi

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Ella Amitay Sadovsky

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Bracha Guy

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Itamar Sagi

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Andi Arnovitz

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Arie Berkowitz

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Gali Cnaani

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

Amalia Frank

“To draw a small line and another line until the shape turns up, sometimes the lines themselves form the rhythm, the beat of the drawing. My paintings are very personal, they are about my mood, my feelings. For me, self-portraits are not about looking in the mirror, they are the sensations I get when I paint what I feel. For example, in the painting ‘Sad Bird’ (1989) I am tired, I have no strength and I see myself as a flightless bird, my feet barely holding on to the ground, my head resting on my arm.”

Arie began to sketch as a teenager. From then on, he charts everything his eyes see: ‘documentation of life’. The written product is what his eyes have seen, what his mind has remembered or dreamed, and what his heart feels. Animal drawings and their own rhythm that reveal something different each time. Each sketch seems like a self-portrait that offers a momentary observation. Arie creates images that are above reality, but as a ‘bird man’, despite the surprise and irrationality, he leans on reality. His works are humane.
The person at their center. Characters are burdened, pitiful, testifying to the creator’s generous gaze and compassion. Arie often paints the elderly: “Adults, old people, the elderly, their faces are like a book that can be read.” The exhibition presents drawings that span 40 years of work, from ‘The Cry’ (1982) to ‘The Raiding Ants’ (2021). Arie maintains a unique line. The combination of the lines creates a world.
Text: Adi Angel

דן בירנבוים

רישום

על גבי קיר במבואת הגלריה, מציג האמן והאדריכל דן בירנבוים רישומים נבחרים מתוך עבודות אחרונות. עבודתו הרישומית עסקה בעיקר בתיאור נוף, ישראלי. נופים אשר התעלמו בדרך כלל  מנוכחות אנושית. הפעם, נדמה שהאמן מביט אל תוכו. מתוך התנועה המיומנת של מכחול יבש  וצבע שחור על נייר, הוא מצליח להעביר אותנו דרך ציור עין, גם אל מה שהעין רואה (העין כמייצגת את המבט, שולחת בעקיפין גם אל דיון פילוסופי עמוק על המבט) [1]. אנחנו חשים את התנועה המתעקלת של היד ורואים את גלגל העין, אישון, דמות שנקלטה במבט. האדמה עליה ניצבים שלושה ברושים (מוטיב ביצירתו וסמל ישראלי) התעגלה באופן בוטח, עד שנדמה שכך יש לציירה. דמות נקלטת בעין, משוכפלת לדמויות רבות ואנחנו מתבוננים ברישום קהל רב של יחידים הנדמים כגופים אורגנים על צלחת פטרי במעבדה. הרישום נכנע לתנועה עגולה, טבעית, כמעט שלמה, שהופכת לבסיס, למקום ממנו נצרבים הדימויים,העין.  רישומיו של דן מאופיינים בתחושה דואלית אצל הצופה . תנועת המכחול לצד הקפאת הרגע ונדמה שאנחנו נמצאים על סיפו של דבר מה שיש לבחון אותו שוב. רגע חשוב. הבחירה בטכניקה שהיא כמעט וקליגרפית, יוצרת רגע ציורי, יחידי, מרתק.  אלו מתעגלים יחדיו לכדי סממנים חדשים ונוספים ביצירה עשירה, רבת שנים ומרתקת של אמן ישראלי שמצליח לזקק עבודתו כקליגרף יפני, ועם זאת לייצר תחושה מקומית השייכת לכאן ועכשיו.  
[1]  “הנראה והבלתי נראה” (1964) -מוריס מרלו-פונטי העמיד את הגוף במרכז החוויה התפיסתית של היותנו בעולם. לדעתו, ראייה היא חוויה גופנית, בדרך של דואליות והיפוך: גופי הרואה הוא גם הגוף הנראה על ידי האחר. חוויית היסוד של היותי בעולם היא זו של סובייקט צופה שהוא גם נצפה. גם לאקאן ( 1964, סמינר 11) התייחס להתבוננות: המביט הוא חלק מתמונה רחבה יותר, המבליעה בה את המביט בהיותה כוללת את הצופה שהוא תמיד גם נצפה, ותמיד נמצא גם בשדה המבט של האחר.

ללא כותרת 2019 | אקריליק על נייר 42/30 ס"מ
ללא כותרת 2019 | אקריליק על נייר 42/30 ס"מ
ללא כותרת 2019 | אקריליק על נייר 42/30 ס"מ
ללא כותרת 2019 | אקריליק על נייר 42/30 ס"מ
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Natural Treasures
representations of nature in textiles

Natural Treasures representations of nature in textiles
28.07.2022 – 14.05.2022

Curators: Efi Gen, Vera Pilpul, Keren Weisshaus

“In the beginning everything was made of textile. People lived in tents, babies were born in textiles, people were buried in textiles, textile was an inseparable part of our lives. Now, it is reintegrating and I believe that it is the material of the twenty-first century and that architecture, transportation, bridges, health, art, design and fashion – everything will be made of textiles of all kinds.”

Over the past two years, we have experienced a dissonance between shutting in and stepping out of lockdowns, between having to wrap ourselves, defending ourselves against the threat of an epidemic, and longing for a soft and comforting touch, an exodus to nature. Textile is essentially a material that envelops and protects the body, creating a buffer between it and the environment. As such, it is a wonderful agent for representing the longings and dilemmas we have all been facing. The textile, for its colors, patterns and textures, simulates and corresponds with nature and its many representations; The flora and fauna, animal skin, vegetation, natural landscapes – all serve as a basis for inspiration, imitation, model creation, decoration, camouflage and also as a source of power and great influence for creators, designers and artists.

The group exhibition, featuring works by 18 artists, aims to offer a position that addresses the tension, as well as the connection between representations of nature and textile, as perceived by them and the way they pour and encode the world of their personal, social images, metaphors and symbolism. The viewer is given the opportunity to examine the image of nature that emerged from this process of research and distillation.

Some of the artists used traditional textile techniques (sewing, embroidery, knitting, etc.), producing simulations of nature that illustrate the space between nature and man-made artifacts. Others utilized the techniques and practices of textile and transferred them to other material worlds (e.g. to lace made of paper, to embroidery in porcelain, or to a rug made of adhesive paper). The works of Maria Merfeld, Amalia Frank, Bianca Severijns, Lida Sharet Masad and Dalia Fisch Benari use a material that replaces the textile while also attempting to resemble it, using a laborious handicraft practice that produces multiplicity, if not excess.

In the case of Yuval Etzioni, Ilana Efrati, Gali Cnaani and Ella Amitay Sadovsky, textiles are actually used in the works, but go beyond their function. In Ilana Efrati’s work it is used as a substrate for actions that accelerate the processes of nature, Yuval Etzioni uses pieces of synthetic grass represented by carpet parts, creating vistas of agricultural fields. For Ella Amitai Sadovsky, the textile produces the landscape and even the domesticated nature, as Gali Canaani deals with fiber and the basic components of textile and weaving. the textile is joined by embroidery as a central practice, and the personal and distinct handwriting of the artist becomes as clear as day in the works of Bracha Guy and Itamar Sagi.

Using wool, Anna Milman created a world that is simultaneously a warm blanket and an up-to-date landscape image of natural and industrialized realms. Andi Arnovitz uses textiles to create a socio-critical statement about ‘cover’ within a gender context. Tal Shochat deals extensively with a dialectical space between the outside and the inside, between nature and the artificial. She detaches a carpet full of ornamentation from its natural location and turns it into the backdrop of a pomegranate-laden tree. In doing so, she creates a dreamy and sublime space, with meticulous aesthetics and abundant beauty.

Nadia Adina Rose poetically uses the soft and homely properties of the textile to reach into an external natural landscape that is linked to personal experiences. Noga Yudkovik Etzioni presents a threatening nature through the creation of ‘second skin’ in fabric. The works of Arie Berkowitz and Rotem Finzi as well as the works of Ella Amitay Sadovsky connect and deal with the meanings, material and physical closeness between humans and animals, woven through these fabrics, telling a narrative that is perhaps a wish, a longing for an imminent, symbolic, emotional connection.

The exhibition presents artistic metamorphoses inspired by the beauty and seduction of nature, through techniques of sewing, embroidery, knitting, weaving as well as new materials that turn textile into a representational, symbolic and researchable site. Is it a pastoral nature? Does it pose a threat, or is it moments before extinction? Is there a romanticization left in the process and in the image itself? or is the textile getting an extreme, colorful, laborious expression, and perhaps nature is free of all these and has withered.

Text: Efi Gen, Vera Pilpul, Keren Weisshaus

Catalogue
Video

​Noga Yudkovik Etzioni

Fermata

Yuval Etzioni

Bianca Severijns

​Maria Merfeld​

​Nadia Adina Rose

​Ilana Efrati

Anna Milman

Lida Sharet Masad

Tal Shochat

​Dalia Fisch Benari

Rotem Finzi

Ella Amitay Sadovsky

Bracha Guy

Itamar Sagi

Andi Arnovitz

Arie Berkowitz

Gali Cnaani

Amalia Frank

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