2016 - current: Proposals +
Proposals is the working title of Ullman’s current ongoing project.
It consists primarily of works created by gradually casting white plaster into layered molds; mounted on top of white formica.
These colossal-fragile low reliefs sit in an estranged vacuum between two and three dimensions - between ‘raised’ paintings and ‘flattened’ sculptures. The minimal difference between matt white plaster and glossy white formica creates a visual effect which gives each image a ghostly presence.
'A Proposal For A Monument To Myself As I Wish To Be Remembered' (2018)
Is a timely and timeless narrative allegory about inevitable collapse. It unravels through a sequence of four mammoth-size low plaster reliefs. Each relief depicts a ‘scene’ in the ‘life’ of a sculpture - Ullman’s self portrait posing as a hybrid between two of the world's most famous classic sculptures - Michelangelo’s ‘David’ and August Rodin’s ‘The Thinker’ - Together these represent the highest forms of Western cultures achievements and values.
Scene 1 - ‘Embryo’: Depicts a ‘negative’ of the image depicted in scene 2. Like an embryo in a womb, the finished sculpture’s full form lay encased inside a large block.
Scene 2 - ‘Glory’: like Sandro Botticelli ‘The Birth of Venus’ the finished form appears to have emerged fully formulated…
However, a fatal mistake was made when this sculpture was initially erect - the sculpture’s center of mass deviates at a barely noticeable angle from that of its’ base. Like a ticking time bomb, gravity pulls down at the massive top of this icon...
Scene 3 - ‘Collapse’: The decisive moment of this sequence - eventually the sculptures gives in at its weakest point - the ankles.
Scene 4 - Forever: What once was a perfect form, now lay bare, broken and shattered on the ground.
Forever, it will remain in this state - a distant reminder of the glory which it once held.
'Genetics' (2017)
Like D.N.A, ‘unfinished’ infinity signs are set up in a row. Similar, but not identical to one another. One is gilded in gold. A strange rock lay on the ground, gilded in gold it is reminiscent of ‘valuable’ objects ‘worthy’ of preservation. A lost sculpture by Yehiel Shami (an Israeli canon artist) is depicted as a ‘negative imprint’ and positive relief. The image of a be-headed ox, which calls to mind images of ox depicted in ancient cave paintings, Picasso, the biblical ‘Golden Calf’ and the Bull sculpture in Wall Street, is once again depicted both as a ‘negative imprint’ and positive relief.
'Prophecy' (2017)
To be an artist wasn't exactly a choice. I've always felt Art chose me before I chose it.
It began the day I was born - November 4th 1982 - and has been haunting me ever since.
'Prophecy' is my gift to myself for my 76th birthday -
I fantasize about a blissful day when I will rid myself of art and cease making it.
Will it be liberating?
2016 - current: Proposals +
Proposals is the working title of Ullman’s current ongoing project.
It consists primarily of works created by gradually casting white plaster into layered molds; mounted on top of white formica.
These colossal-fragile low reliefs sit in an estranged vacuum between two and three dimensions - between ‘raised’ paintings and ‘flattened’ sculptures. The minimal difference between matt white plaster and glossy white formica creates a visual effect which gives each image a ghostly presence.
'A Proposal For A Monument To Myself As I Wish To Be Remembered' (2018)
Is a timely and timeless narrative allegory about inevitable collapse. It unravels through a sequence of four mammoth-size low plaster reliefs. Each relief depicts a ‘scene’ in the ‘life’ of a sculpture - Ullman’s self portrait posing as a hybrid between two of the world's most famous classic sculptures - Michelangelo’s ‘David’ and August Rodin’s ‘The Thinker’ - Together these represent the highest forms of Western cultures achievements and values.
Scene 1 - ‘Embryo’: Depicts a ‘negative’ of the image depicted in scene 2. Like an embryo in a womb, the finished sculpture’s full form lay encased inside a large block.
Scene 2 - ‘Glory’: like Sandro Botticelli ‘The Birth of Venus’ the finished form appears to have emerged fully formulated…
However, a fatal mistake was made when this sculpture was initially erect - the sculpture’s center of mass deviates at a barely noticeable angle from that of its’ base. Like a ticking time bomb, gravity pulls down at the massive top of this icon...
Scene 3 - ‘Collapse’: The decisive moment of this sequence - eventually the sculptures gives in at its weakest point - the ankles.
Scene 4 - Forever: What once was a perfect form, now lay bare, broken and shattered on the ground.
Forever, it will remain in this state - a distant reminder of the glory which it once held.
'Genetics' (2017)
Like D.N.A, ‘unfinished’ infinity signs are set up in a row. Similar, but not identical to one another. One is gilded in gold. A strange rock lay on the ground, gilded in gold it is reminiscent of ‘valuable’ objects ‘worthy’ of preservation. A lost sculpture by Yehiel Shami (an Israeli canon artist) is depicted as a ‘negative imprint’ and positive relief. The image of a be-headed ox, which calls to mind images of ox depicted in ancient cave paintings, Picasso, the biblical ‘Golden Calf’ and the Bull sculpture in Wall Street, is once again depicted both as a ‘negative imprint’ and positive relief.
'Prophecy' (2017)
To be an artist wasn't exactly a choice. I've always felt Art chose me before I chose it.
It began the day I was born - November 4th 1982 - and has been haunting me ever since.
'Prophecy' is my gift to myself for my 76th birthday -
I fantasize about a blissful day when I will rid myself of art and cease making it.
Will it be liberating?