25.8.19

Artwork

Department of Fine Art

Blanche & Romie Shapiro

Fine Art 2019, Graduate Exhibitions
Shir Raich, .
, 2019, Fourth Year, Fine Arts
The internal attic is a space in which pre-verbal entities, which were formed to bridge the gap between the interior and exterior, exist. It contains objects that are no longer in use, and they distort, perish, and crumble over time to the point of losing their original identity. No one takes these leftovers under his wings, the human eye does not revive them, they begin to exist independently. These leftovers remain trapped in the mental space, unable to fulfill their original function of mediation between the interior and the exterior. All that is left is the memory of that unfulfilled potential sitting at the edge of a shelf.
In the exhibition, space is an installation of sculptural objects accompanied by a video projection. Raw iron alongside panels that appear to be made of pressed concrete, create a feeling of heaviness. In another glance, it is possible to see through the disintegration of the tablets that this is an optical illusion – Polystyrene and Jute  are the materials which hold the images together. The continuous and vigorous jitter of the video highlights the stillness of the objects and it seems as though we are standing in space where time has stopped but it contains a memory that continues to exist and grow.
The memory contradicts itself and is divided into a solid and clear object against an independent and dynamic existence. Observing it raises the question of the basis of man, what defines his identity and worldview? Memory is an essential part of these questions and functions as an archive, it encodes the mental map and provides access to it. The act of looking back splits the linear time sequence in two – the concrete memory and the nascent past.
The return to childhood experiences, with the attempt to redesign them, means returning to the sketching table of the self. The natural human tendency is to miss the innocence of our childhood, although innocence might not have even been there. The artist examines the status of the rootless memory, the fictitious memory, the yearning for a childhood memory that was not present in the experience of material life. It acquires discarded substances and residues with a renewed look through transformation. This process opens a gate to observing the way they operate and the process of digesting mental spaces.
Shir Raich
Fourth Year
.
2019