Curators tell
The exhibition 'Ein Tova' focuses on the field of amulets from observing the rhythm of human life from birth to death.
Mythical stories, anxieties, expectations and worries in the face of the unknown motivated humanity to create writings and objects to hold on to. Items designed to protect and strengthen women and men have been found throughout history in the form of written cards, medallions to wear, bowls of oaths and more. They are common all over the world, and they did not pass over the Middle East, and Israel in it.
"Embodied Memories"
Eti Gadish de Lange chooses her work materials as separate bases to integrate them into her own discourse. Gaddish de Lange has a unique observation of space: both in a broad way as a navigator in landscape and in a more focused way in her search for ancient soul materials, which have lost their original usefulness but remained saturated with time and memories. She collects them in her studio to rest for a while until she integrates them into the creative process, which puts them in a new context that will reveal their many years of wisdom. Her creative process decodes the DNA of the materials while creating a fresh feeling that combines childishness with mature wisdom. Another raw material in Gadish de Lange works with is leftover veneer. The veneer serves as a branded outer layer, wrapping the semi-figurative sculptures. To the eye of the beholder, the veneer appears only as a top layer. But it actually covers and preserves a diverse and rich content of internal layers. The exhibition provokes reflection on the reuse process, from throwing away the materials till their new purpose and the moment of integration into an artistic creation. Gadish de Lange appreciates Far East cultures' perceptions of creative processes: their patient, slow observation, together, with respect for materials and rediscovering of the emotion they express. The reorganization of the material creates both strong and fragile human expression. This expression grants the abandoned memories power to tell a new story, a new memory connected to the ancient soul. The accuracy of the exhibition enables the viewers to observe what lies underneath the materials. In the meeting point between them, an inner, compassionate human landscape is revealed, reminding us of the importance of bringing together our individuality and the common.
Eti Gadish de Lange chooses her work materials as separate bases to integrate them into her own discourse. Gaddish de Lange has a unique observation of space: both in a broad way as a navigator in landscape and in a more focused way in her search for ancient soul materials, which have lost their original usefulness but remained saturated with time and memories. She collects them in her studio to rest for a while until she integrates them into the creative process, which puts them in a new context that will reveal their many years of wisdom. Her creative process decodes the DNA of the materials while creating a fresh feeling that combines childishness with mature wisdom. Another raw material in Gadish de Lange works with is leftover veneer. The veneer serves as a branded outer layer, wrapping the semi-figurative sculptures. To the eye of the beholder, the veneer appears only as a top layer. But it actually covers and preserves a diverse and rich content of internal layers. The exhibition provokes reflection on the reuse process, from throwing away the materials till their new purpose and the moment of integration into an artistic creation. Gadish de Lange appreciates Far East cultures' perceptions of creative processes: their patient, slow observation, together, with respect for materials and rediscovering of the emotion they express. The reorganization of the material creates both strong and fragile human expression. This expression grants the abandoned memories power to tell a new story, a new memory connected to the ancient soul. The accuracy of the exhibition enables the viewers to observe what lies underneath the materials. In the meeting point between them, an inner, compassionate human landscape is revealed, reminding us of the importance of bringing together our individuality and the common.
Paulonia
''Empty of any luggage Moon ship Sails to paradise’’ Duhko (from "Saying a Song on the Brink of Death) Paulownia is not the name of a mysterious female figure, although the preoccupation with women and sexuality is present in the exhibition. Nor is it the name of a remote port in a foreign city, however, the works correspond with the sea as a place, as a memory, as a longing and are influenced by life on the water's edge. It could have been a story about depletion and moving away from the Bank as a metaphor for a mood. Paulownia is a tree also known as the "Empress Tree" which originated in China. Eti chose it because it enables her to create series of works on a large scale, some of which are displayed in the exhibition. Lightweight but stable, soft and at the same time durable, submissive near the sculptor but with a unique character and structure and with an uniform texture that allows processing in a wide range of shapes, cuts and reliefs. The encounter with Paulownia, the owner of the hollow lead pipe hidden in the trunk, led Eti to a primordial world, correspondent with ancient cultures, with closeness to nature and kraft in rough and minimal processing, leaving open edges as part Reflecting on time, place, matter, form and continuity. After years in which Eti's creative main means of expression was painting, a place in the studio was made for the new material, large tools were bought and the artistic endeavor began. Cut, knock, saw, sand, connect, carve, process, let go of thoughts, distress and pain and become In physical work for sculptural works. A channel is opened for a permanent home and a temporary home facing the sea. The studio has become a mooring, boats near totems, storytellers, thoughtful and intuitive, different from each other, Individuals and group, unpolished, imperfect. Traces of the original race and traces of Eti's hands are visible. At Eti's work, different worlds exist at the same time: On the one hand it creates androgynous, small-scale series of hardwood figurines combined with parts of "Ready-made" is disassembled and reassembled on a female body. On the other hand, works that focus on the material and deal in one form as an abstract and realistic composition, repetitive about herself in an unpretentious and rough way in search for an exact dose. And another unconscious with a completely different sculptural character.
''Empty of any luggage Moon ship Sails to paradise’’ Duhko (from "Saying a Song on the Brink of Death) Paulownia is not the name of a mysterious female figure, although the preoccupation with women and sexuality is present in the exhibition. Nor is it the name of a remote port in a foreign city, however, the works correspond with the sea as a place, as a memory, as a longing and are influenced by life on the water's edge. It could have been a story about depletion and moving away from the Bank as a metaphor for a mood. Paulownia is a tree also known as the "Empress Tree" which originated in China. Eti chose it because it enables her to create series of works on a large scale, some of which are displayed in the exhibition. Lightweight but stable, soft and at the same time durable, submissive near the sculptor but with a unique character and structure and with an uniform texture that allows processing in a wide range of shapes, cuts and reliefs. The encounter with Paulownia, the owner of the hollow lead pipe hidden in the trunk, led Eti to a primordial world, correspondent with ancient cultures, with closeness to nature and kraft in rough and minimal processing, leaving open edges as part Reflecting on time, place, matter, form and continuity. After years in which Eti's creative main means of expression was painting, a place in the studio was made for the new material, large tools were bought and the artistic endeavor began. Cut, knock, saw, sand, connect, carve, process, let go of thoughts, distress and pain and become In physical work for sculptural works. A channel is opened for a permanent home and a temporary home facing the sea. The studio has become a mooring, boats near totems, storytellers, thoughtful and intuitive, different from each other, Individuals and group, unpolished, imperfect. Traces of the original race and traces of Eti's hands are visible. At Eti's work, different worlds exist at the same time: On the one hand it creates androgynous, small-scale series of hardwood figurines combined with parts of "Ready-made" is disassembled and reassembled on a female body. On the other hand, works that focus on the material and deal in one form as an abstract and realistic composition, repetitive about herself in an unpretentious and rough way in search for an exact dose. And another unconscious with a completely different sculptural character.
Sail on
In a studio located in front of the sea, away from the stormy crowds, in a wonderful silence, Eti de Lange goes through a personal journey out of the subconscious, the world of dreams and the hardships of life. She creates a poetic world as a child who builds imaginary palaces in the sand to which she sails with the help of a group of carved boats made of soft and delicate Paulownia wood in which the hollow is hidden a transport pipe that leaves signs of white depressions. She attaches iron objects to the wood, rubber sheets, raffia wires and glass elements as a contrasting metaphor between nature and the industrial world. Boats - ships are a well-known motif in Israeli art. Since the 1920s, artists such as Reuven Rubin, Guttman and Paldi have represented in their paintings boats that symbolize the return of the people to their land. Painters from the 1940s during World War II adopted the images of the ship as an image of fixed and displaced trauma. In 1960, Naftali Bezem built a large wooden boat in the yard of his house. His boat ran aground and got stuck in a paved yard instead of sailing in the sea. Traumatic memory ships multiplied in the 1960s and in the modern and postmodern period the boats gradually darkened and the artists' lamented over the harms of Western society and culture. Eti de Lange continues this tradition of personifying her sculptural object - the boat as a mental metaphor. The boats according to her are a kind of transitory object that kept her in difficult situations and allowed her to sail across the abysses. Each boat has a personal story indicated by a character or by different signs and materials. Working in the soft wood with the natural depressions allows it to preserve its material memory and flow with it. Its means are minimalist, influenced by Japanese culture that acquires respect for material culture. The influence of ancient tribal cultures is present and manifested in totems carved with tissue delicacy
In a studio located in front of the sea, away from the stormy crowds, in a wonderful silence, Eti de Lange goes through a personal journey out of the subconscious, the world of dreams and the hardships of life. She creates a poetic world as a child who builds imaginary palaces in the sand to which she sails with the help of a group of carved boats made of soft and delicate Paulownia wood in which the hollow is hidden a transport pipe that leaves signs of white depressions. She attaches iron objects to the wood, rubber sheets, raffia wires and glass elements as a contrasting metaphor between nature and the industrial world. Boats - ships are a well-known motif in Israeli art. Since the 1920s, artists such as Reuven Rubin, Guttman and Paldi have represented in their paintings boats that symbolize the return of the people to their land. Painters from the 1940s during World War II adopted the images of the ship as an image of fixed and displaced trauma. In 1960, Naftali Bezem built a large wooden boat in the yard of his house. His boat ran aground and got stuck in a paved yard instead of sailing in the sea. Traumatic memory ships multiplied in the 1960s and in the modern and postmodern period the boats gradually darkened and the artists' lamented over the harms of Western society and culture. Eti de Lange continues this tradition of personifying her sculptural object - the boat as a mental metaphor. The boats according to her are a kind of transitory object that kept her in difficult situations and allowed her to sail across the abysses. Each boat has a personal story indicated by a character or by different signs and materials. Working in the soft wood with the natural depressions allows it to preserve its material memory and flow with it. Its means are minimalist, influenced by Japanese culture that acquires respect for material culture. The influence of ancient tribal cultures is present and manifested in totems carved with tissue delicacy
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