2006 - 2010: Formative Work +

In these Formative years many of the recurring themes of Ullman’s later work emerge:
Ritual. Mundane repetition. Process. Time. Traces. Narrative. Gravity. 3D Sculpture - 2D Painting. Form - Formless. Solid - Liquid. Vertical - Horizontal. Male - Female. Phalic - Vaginal. Birth - Death.

’Gravitime’ (2006)
The title fuses the words ‘gravity’ with ‘time’.
In this work Ullman pierced a small hole through paint cans, let that paint drip on to a surface underneath and dry.
He Repeated this process every day until the paint completely drained from the paint cans and filled the entire surface underneath.
The stacked cans were then removed from the surface, the surface suspended on the wall, and displayed next to the stacked cans of paint.

‘Time-Machine’ (2006)
This ‘womb like’ process began when Ullman completely covered a surface with liquid paint. Over 24 hours that paint solidified. Ullman then revisited the work and ‘impregnated’ it by inserting a strip of duct-tape on to the painted surface. That tape masked out a segment of that layer of paint. Then Ullman again covered the entire surface with liquid paint. This process was repeated every 24 hours. Like an embryo growing inside a womb, each day the duct taped portions grew. At the end of this process, like giving birth, Ullman removed all the tape from the surface. The scorched surface is exhibited next to the tape removed from it.

Plane-O-Suar (2006)
Hybrids cut-outs of two separate kids assembly kits - that of an airplane, one of humanities highest achievements,
and that of a dinosaur, a primal beast whose rule of this planet preceded humanity.

Moon Dial (2008)
Nine number stencils rotated between nine circular wood panels.
After every rotation stains were applied on the masked wood panels. When the full rotation was complete all the stencils were removed. The result - nine circular panels each containing 'ghost' images of all nine digits.

Self Motion (2008)
Is a sequential narrative which circulates on a conveyer-belt. Exhibited first just before Ullman left Israel to live in New York, and again upon his return to live in Israel - it is an auto-biographic metaphor about back-packing. This rite of passage could read as an artistic journey.

Bumster (2010)
Invites viewers to engage in a ritual of kneeling before the work and smelling it.

A Man Needs To Be Strong And Tender (2010)
At the center, red and bloody, is a 'flayed' Superman action-figure.
In its current state this masculine kid's toy looks like a vagina.
Above it hovers a blue 'thought balloon' with an inscription:
“A Man Needs To Be Strong And Tender”.

Excavated De Kooning Drawing (2011)
Is based on Robert Rauschenberg’s iconic 1953 work, in which Rauschenberg erased an original William De Kooning drawing. Using a unique photo transfer method developed solely for this work, Ullman picked underneath the white paper to excavate De Kooning’s lost image.

 


Reviews:

Michele Alpern

Tomer Perry

2012 - 2017: Regulated Breathing +

The term ‘Regulated Breathing’ derives from a 2015 interview:
“This was around the time my first daughter was born. At the time, I was feeling very anxious. I decided to use my studio practice to relax. Gilding, where extremely thin sheets of silver are carefully applied a-top glue coated objects (or surfaces), provided a perfect solution. It required an almost meditative state. I found that regulating my breathing helped…”.

This project is a culmination of works created and shown between 2014 and 2017. In them, recurring dualities intertwine:
Phalic - Vaginal. Masculinity - Sexuality. Rise - Fall. Sculptural - Painterly. Traces - Imprints -Mark-making. Temporary - Infinite. Timely - Timeless. Pre-history - Alternative history.

‘Weight of the world’ (2014)
Is a hole punched through drywall. Like in Duchamp’s final work, here viewers can peep through the hole to see a found photo depicting a sculpture of the mythical titan ‘Atlas’ holding up the entire world.

’Silver Back’ (2014)
Is a group of works that gild objects and surfaces:
A low relief featuring the image of the artist’s ‘Torso’, scaled 1:1, is reminiscent of an ancient, broken Greek-Romaneseque sculpture.
It hangs next to a large partly silver-gilded surface - the word ‘PLEASURE’ slightly relieves from its top portion.
Below it another large silver-gilded surface, with the word ‘FALL’ sightly relieved from it.
‘South Tel Aviv Boy’, a low relief featuring the image of an immigrant child. It hangs above a readymade printer/scanner completely covered in silver. A page sticks out from the printer with the word ’SORRY’ relieved from it.

‘There is No Moon’ (2016)
Is a journey between works which relate to the moon landing and conspiracy theories about the moon landing being a hoax.
‘The Moon as Seen from Earth’ are four large silver gilded flat surfaces which vacate any image from the picture plane. These surfaces blocked the gallery’s display window - transforming a window to be looked through into a semi-reflective surface which reflected, mirrored and absorbed the gallery’s surroundings.
Upon entering the gallery, viewers stepped on to ‘The Moon’s Surface’ - cement powder covering the entire gallery's floor. Viewer’s footsteps left imprints on this powder as they walked. When the show ended, several of these imprints were solidified and framed.
Lastly, a small, shiny, semi-reflective blue work could be seen in the far corner of the gallery - ’The Earth as Seen from the Moon’.

‘When Individual Gestures Meet Corporations’ (2017)
Is a huge plaster relief featuring the image of an extinct dinosaur skeleton. Across from this pre-historic beast, a salamander floats preserved in a jar of sugary substance. The meeting between the two calls to mind Jurassic Park's fantastic potential to revive the primal beast using the tiny lizard's D.N.A.


Reviews:

Eitan Bugamin

Karni Ben Yehuda