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

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