Page 83 - Art-in-Israel

Gontar’s formula. The background for slide 138 is taken from a In spite of our existence as children of the sand (slide 126), we
blueprint for an electronic device, receiving through my artist’s suckle from the dune’s breast (slide 71); our umbilical cord,
eyes volume, color, and movement. constructed of barbed wire, determines boundaries and a mobile
reality.
That blueprint became a sand dune’s wave in slide 139. And then
the wave, altered through a play of timing and quantity became a Personally, I see my work as a human story of infinite attempts: to
small part of a dune in paintings 140 and 146. The design blueprint burst through boundaries in a world of boundaries; bursting to
that has become a wave is depicted in slide 144 as a tool to aid in infinite spaces on a canvas tightly held to a wooden frame; and to
my understanding, as a human being, of time. relay the sensation of time through a frozen moment (slides 77,
121, 123, 128, 181, and 183). And thus it is a desperate human
The intersection of creation with the design for an electronic attempt to construct manmade order over the natural reality; in
device - a human creation - creates a new window peering on yet fact, this order turns out to be a superficial temporary covering
another aspect of reality. Another blueprint, used as a metaphor that is easily ripped by the natural processes bursting out from
for the ocean’s waves (slide 153), is seen as a desert landscape. In within (slide 176).
slide 166, the second blueprint is used as a connection between Certainly, these works that you now have before you have many
earth and sky. This blueprint found its way as a metaphoric additional stories behind them, but I am very curious to know
statement in several additional works of mine. what others see.
Yona Levy-Grosman

MEMORY
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PLACE

ART IN ISRAEL OIL ON CANVAS CM. 90X120 ART IN ISRAEL
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WORLD OF ART WORLD OF ART