• Ruth Schreiber
  • Alejandra Okret
  • Bitya Rosenak
  • Mazal Carmon
  • Sara Nina Meridor
  • Andi Arnovitz

In the exhibition Camouflage some of the artists intentionally use or mimic the aesthetic language of fashion and textile design, while other works portray abstract shapes that resemble organic forms of the camouflage effect. Parts of the works embody an interesting dissonance between their visual appearances and actual conceptual essence.

Ruth Schreiber in her work Go On, Spoil Yourself exhibits an installation of a white fan, lit from underneath. At first glance this work is perceived as an aesthetic object, though a closer observation reveals that each reef of the fan contains text, representing different forms of leisure activities, associated with the female world.  The dissonance between the appearance of the work and its subtle implied irony raises questions about the socially enforced definition of femininity. In a similar way, Andi Arnovitz uses the visual language of fashion design to engage with the difficult issue of sexualizing little girls – a growing phenomenon in the Orthodox and secular world. Her light boxes contain small and delicate dresses in which all of the seemingly erotic points are marked by flowers. These pure and fragile works serve as a camouflage of the profound social criticism that Arnovitz wishes to express. Another work by her, I Think I Might be Chicken Little references the animated character Chicken Little who is afraid that the “the sky is falling”. This work appears as an Haute–Couture dress, though in truth, it is made out of numerous strips of text – each one representing a different worry. Mazal Carmon creates a site-specific, three-dimensional piece made of paper. Carmon works with the material of the paper like one does with fabric: she washes, irons and sews it. Alejandra Okret exhibits several works from her series Dance Construction, featuring ballerinas with flowing gowns. The expressive color splash of the aquarelle and ink on the paper, forming each dress, portrays the interesting play on control and the loss of control, the abstract verses the figurative. Bitya Rosenak works intuitively; she observes nature, botany and different types of mold. With minimal intervention, like a skillful scientist, she examines how the water color meets the paper and what is formed as a result of this encounter. The monochromatic and abstract works by Sara-Nina Meridor from her series Black Altar are made of a mixed media technique, combining various materials: granite, charcoal, pigments and oil on canvas. These expressive works are a result of Meridor’s preoccupation with the Jewish tradition and in particular, the scripture: “Thou shalt not make unto thee any graven image” (Exodus, 20:3). The prohibition of figurative representation of god, caused Meridor to seek her own alternative abstract alter; a universal icon that transmits the viewer into another dimension – a meditative state that enables the connection with the sublime.

The exhibition as a whole exposes inter-connections that already exist between the works of the participating artists. These natural launching points come across on multiple levels: the aesthetic level and the practice or thought-process that led to the creation of each work. All and all, these varied and layered works made of different mediums shift from the abstract to the figurative and from invisible layers to their exposure.


Opening: Saturday 14.5.16, 20:00
Closing: 11.6.16

Curator: Dina Yakerson

Artists: Alejandra Okret, Andi Arnovitz, Mazal Carmon, Sara Nina Meridor, Bitya Rosenak, Ruth Schreiber.

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