About
 
 
I engage in research, searching for an initial idea or essence that will carry me away to realms related to identity and subject. This is a search for the form within the clay, including a stage of sketching and drawing of objects, after which I turn to the clay itself, trying to decipher the conceptual essence that emerged in the sketches, and embed that into the clay.
 
In contrast to traditional recycling, which separates between various types of material, my work involves fusing different dry materials together into a block of raw matter, sliced and flattened. Each slice has a sampling of the initial mixture, in a random configuration, since the blending mimics its occurrence in nature. The construction phase is a challenging one: to overcome the opposing forces that exist within the mixture, the construction process is carried out in a single session, with the inner body of the object, its ‘skeleton’, maintaining the outer one. Next, I subtract and carve the object until it reaches its final shape. The drying is carried out in a lowfire kiln over several days. The firing is a low fire.
 
My work process of recycling, construction, subtraction, and carving, is done in an intuitive, raw fashion, mimicking the haphazard nature of nature: organization and disruption, in a kind of endless dynamic. The minimalist style of my most recent works springs from a meditative, almost Zen, process that highlights the ambiguity in the work’s final form, while maintaining a sense of integrity.
 
This perception of the recycled clay as a metaphorical allusion to the endless, almost overwhelming variety of land surfaces, is related to Postmodern art, which deconstructs metanarratives and constructs fragments of reality that are distinctly identifiable and given to subjective interpretation. The Postmodernist expression, which underlines the raw materials, confronting and reinterpreting elements, exists in my own creative domain of organic forms that arise within recycled clay, forging a new, autonomous, artistic realm that is open to sensory information.
 
Written by curator Anat Mandil
Translated by Jonathan Or Stav
 
 
 

 

I engage in research, searching for an initial idea or essence that will carry me away to realms related to identity and subject. This is a search for the form within the clay, including a stage of sketching and drawing of objects, after which I turn to the clay itself, trying to decipher the conceptual essence that emerged in the sketches, and embed that into the clay.
 
In contrast to traditional recycling, which separates between various types of material, my work involves fusing different dry materials together into a block of raw matter, sliced and flattened. Each slice has a sampling of the initial mixture, in a random configuration, since the blending mimics its occurrence in nature. The construction phase is a challenging one: to overcome the opposing forces that exist within the mixture, the construction process is carried out in a single session, with the inner body of the object, its ‘skeleton’, maintaining the outer one. Next, I subtract and carve the object until it reaches its final shape. The drying is carried out in a lowfire kiln over several days. The firing is a low fire.
 
My work process of recycling, construction, subtraction, and carving, is done in an intuitive, raw fashion, mimicking the haphazard nature of nature: organization and disruption, in a kind of endless dynamic. The minimalist style of my most recent works springs from a meditative, almost Zen, process that highlights the ambiguity in the work’s final form, while maintaining a sense of integrity.
 
This perception of the recycled clay as a metaphorical allusion to the endless, almost overwhelming variety of land surfaces, is related to Postmodern art, which deconstructs metanarratives and constructs fragments of reality that are distinctly identifiable and given to subjective interpretation. The Postmodernist expression, which underlines the raw materials, confronting and reinterpreting elements, exists in my own creative domain of organic forms that arise within recycled clay, forging a new, autonomous, artistic realm that is open to sensory information.