剛實堅硬的雕塑卻是以柔軟可塑的姿態註釋評論著以色列的現實。它透過地景相關的建築元素表釋它自身，同時也展示浪漫和嚴苛的相關串連。當與極簡主義的雕塑語彙對話辯證時，比喻寓意的身驅透過人之為人以及肉身存在的印痕表露它自身。雕塑定義了在此中的肉身、地景和創造力的關連；有時藉由微妙的操作之舉，巨大笨重的雕塑可被操作成猶如輕巧折疊的紙張一般。
在我的計畫中表呈的高山影像，也是計畫的核心部份。再現地景是流動的，值得注意的是，在繪畫以及錄影作品的雕塑性存在中，再現地景的流動變成它自身的回音。流動性試圖抹去物質的內在固有的雕塑性存在而為體積團塊，這將轉換且離棄了它而成視覺組塊的痕跡。
圖畫多半以複寫紙張和墨水繪製而成。它們描繪現實處境之間的連結和脅迫著要覆蓋住它們的汙點。繪製的線條在人為目的（指人為操控的和複本）以及無意識之間滑移。
在我的作品中，我的動機和權力、爭奪、恐怖控制、虛飾賣弄有關。這些是藝術作品觀察者的煩擾，且這些也將本質與土地國家視為控制步驟的核心要素。
[ Tamar ] [ Sign ]
Tamar - 2007, Formica, 50X50X200 cm
Sign – 2006, mattress, 70 X 50 X 15 cm
My work is in a zone straddling drawing and sculpture. These are territories characterized as stain and lump which are in constant struggle with the image that is coming into existence.
The iron sculptures are a plastic comment of the Israeli reality, expressing itself through the architectonic elements that relate to the landscape, and exhibit romantic and critical threads at the same time. While making a dialogue with the sculptural language of minimalism, the figurative body manifests itself through imprints of the human and physical being. The sculptures define the body and the landscape and create power relations between them; at times by subtle action when the massive iron is handled as if delicately folding paper.
The image of the mountain is present and central to my projects. The representation of the landscape is flat - one dimensional -becoming the echo of itself in its sculptural existence in both drawings and video works. The flatness is looking to erase the inherent sculptural being of the material as volumetric mass, transforming and leaving it behind as a trace of a visual mass.
The drawings are mostly made with carbon copy paper and ink. They describe the connections between reality sites and stains that threaten to cover them. The drawing line moves between intention – the one that controls and copies – and unselfconsciousness.
In my works, I use motifs relating to power, jostling, territorial control and ostentation. These harass the observer of the artworks and they assign nature and the land as central elements of control procedures.
Tamar - 2007, Formica, 50X50X200 cm
Avital Cnaani
Born 1978, Israel.
Live and Work in Tel-Aviv, Israel.
Education
2006 Graduate Studies – Bezalel – Academy of Arts and Design.
2001-2005 – B.E.D (with honors) Hamidrasha School of Art; Beit Berl College, Israel.
Solo Exhibition
2007 Solo Gallery – Tel-Aviv.
2004-Cabri Place of Art” – Kibbutz Cabri Gallery.
Group Exhibition
2007 – “Regba” – Barbur Gallery. Jerusalem.
2007 – “RockArt” – Music Center, Jerusalem.
2007 – “Relay Race” – Four Generation of Feminism in Israeli Art, Haifa Museum.
2007 – “Open Studio”, Bezalel Academy of Art, Tel-Aviv
2007 – “The Congress 17”, Tel-Aviv
2006 – “2006”, Gordon Gallery, Tel-Aviv.
2005 – “The Scream” – Homage to Munch. ‘Kav 16’ Gallery, Tel-Aviv.
2005 – “Artic 7” – an America-Israel Cultural Foundation exhibition of the recipients of
The Sharett scholarship.
Awards
2005- Recipient of Excellency Award, Hamidrasha School of Art.
2004-5- America-Israel Cultural Foundation Awards.
Contact:
avitalcnaani@gmail.com
972-523383144
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