Heaven and Earth

Israeli Jewelry 4

Some 50 participants from the fields of art, jewelry making and design are displaying their work that relates to the material and the spiritual.
Israeli Jewelry 4 is the fourth in a series of exhibits that takes place every two years in the museum. The artists were requested to relate to the exhibit’s title - Heaven and Earth – two words that represent the assemblage – shapes and their reversals.
Heaven – divine, lofty, the place for gods and angels.
Earth – material, practical, concrete, a geographical, historical and political region.
The curator, Prof. Yarom Vardimon, Israel Prize laureate for design in 2007, is the dean of Art at the Shenkar College of Engineering and Design.
Prof. Vardimon says: “Heaven and Earth was decided on as the name of an exhibit that seeks to follow the combination of the material and the spiritual that serve as a creative motivating force. Force expresses a position – whether toward material, tradition or human relationships. Granting an opportunity to learn what we can do in order to concretize our uniqueness, to declare who we are, what we represent and perhaps what we want to be. To examine, with the openness of intellect and senses, how same objects deal with big subjects.”
The participants in Israeli Jewelry 4 create in “high” classical, traditional materials, such as gold and silver, and combine them with “low” materials such as iron, steel, copper, and with atypical materials such as nylon, sensors, glass, an installation, laminated paper, a sketch in chalk, felt, crushed soda cans, etc.
Maor Avni relates to artistic work as a source of light around which the world is burning, which a moth is trying to enter, and creates a piece of jewelry for the finger tip.
Michal Oren makes “horizontal variations” in a nine-component chain connected by gold hinges which allow change that alludes to diverse perspectives.
Vered Babai sets up the screen as the representative of heaven and earth. She presents the material worldliness of the screen, and dictates an unperceivable celestial, spiritual, anti-material space.
Moshe Botzer posits the darkness of mysterious magic vs. a watery and spring-like feeling.
Tal Blumenau posits a question about the reciprocal relationship between human beings and their needs and items of clothing and jewelry.
Shirli Bar-Amotz creates pure rolled-out silver and shows the archeological remnants of a destructive process. A kind of worldly covering, free of past content.
Michal Baron-Shayish presents reduction vs. the temptation that material presents. Restraint as a value and symbol of the battle against profusion.
Benny Borenstein relates to the verse “and they sewed fig-leaves together” (Genesis, 3:7), and delineates the lofty symbol of achievement in protective nylon and gold thread.
Dudu Barkat hides remnants of the sensors of a creative world that collapsed in glass bottles.
Neta Gedalya works “in the depths”, presenting the material layers of the earth, made of layers and corresponding to the human soul, coping with the pressure of the wind that is churning them.
Hadassah Goldvirt follows her mother’s wrinkles in an installation and reconstructs them on her own face as a decoration that expresses closeness and refers to both the past and present.
Anat Gofer takes the viewer on a trip between locations and worlds. Between the cheap and the expensive, between one experience to another in an imaginary world in which a boat on wheels is wandering.
Ohada Hai-Gordon chains the sublime in worldly shackles and handcuffs.
Noa Gorden sees in the experience of heaven and earth a situation that is somewhere between the sacred and the secular. Against the background of the memories of her grandmother, a Holocaust survivor, who hangs out her laundry, and the experience of the huge piece of fabric flying in the wind, she seeks to concretize a gentle and weak touch.
Anat Goldbard relates to the “whole” as one that combines heaven and earth. Two opposites in a gradual state of becoming – from top to bottom and from upper to lower.
Anat Grozovsky chose Jacob’s Ladder and draws her inspiration from the verse, “and the top of it reached to heaven”, Genesis, 28:12 for presenting an allegory that will bridge between the divine and human beings, between the metaphysical and the concrete.
Yisrael Dahan sets off on a journey between continents that begins with cutting down a tree in Africa and carving it, and follows him bringing it back to Israel, dividing and slicing it until it becomes an item of jewelry.
Niati Haft seeks to examine whether the costly sanctifies the cheap. Between a piece of cardboard and jewels – which validates the other?
Rorry Hoffer quotes from Umberto Eco’s book The Name of the Rose.
Yael Herman catches, between laminated paper, the moment when shining silver is oxidized, on the way to becoming black, when a host of colors bursts forth like boiling lava.
Batia Wang gives her own interpretation to Michal Snunit’s poem, Song of the Heart.
Yasmin Vinograd draws her approach from the weather vane.
Ada Vardimon-Gundson creates her own personal horizon by sketching in chalk a dividing line between clouds of silver and enamel and worldly glass.
Dana Hakim expresses primordial values in which working the soil is perceived as a supreme value, chained to the earth through a stifling fence.
Etti Hen deals with forgotten items in nature and examines layered growth in a visual expression of individual sensory system.
Zvi Tolkovsky puts on glowing hats.
Reut Tassa piles worldly disasters, the fate of heaven, on rings.
Hadas Yisrael relates to uncertainty, and to uncontrolled humor in a creative game.
Dina Kahana-Geller defines a pre-jewelry condition and confronts expressions of magnificence and splendor with worldly decoration in order to make a piece of jewelry for the body.
Einat Lider deals with the relationship between real walls and fences and a situation in which boundaries are dismantled on the individual level, a process that leads to penetrating the personal – body and the near environment.
Sigal Lifshitz is inspired by a journey to the slopes of the Carmel range.
Noa Liran throws five stones to the heaven, and collects them on the earth.
Uri Samet grows a tree and branches with fruit while using the Lost Wax technology.
Ruti Stupenitzky creates the mathematics of life that shifts between zero and infinity, between the concrete and the abstract, between chaos and order.
Yael Friedman presents reconciliation between the two genders as an expression of rediscovery.
Smadar Friedman uses layers of wooden planks, which for her are tabula rasa, that reflect infinite memory.
Einat Primo regards buttons as the embodiment of the potential of connection and detachment.
Yaakov Kaufman deals with creation as a collection of deeds and details that are reflected in worldliness and in changing shapes.
Vered Kaminsky weaves gold thread into a fabric that expresses the vulnerability of life vs. their fullness.
Esther Knobel weaves a creation in which the tools of the creator are drawn in iron thread sewn unto silver plates.
Galia Rosenfeld ties pastel strips of felt in symbolic colors into a chain.
Kobi Rot regards the honey-sucker as the symbol of freedom, beauty and externalization that detaches itself from reality.
Ahuva Shwartzbard regards the perpetuum mobile as an expression of the link between heaven and earth, blossoming and wilting, blessing and curse.
Rip Chopin defines spaces that express reciprocal relations between the delineating lines and the spiritual meaning of volume, capacity and content.
Deganit Shoken defines local completeness and connects crushed soda cans, which were collected at the Kalandia checkpoint, with stainless steel, copper and a diamond chain.
Dalia Sharon point to mortals as God’s emissaries and combines shape, shadows and sound in a discourse between a priest’s hat of and a nun’s collar, alluding to the encounter of the worldly and the spiritual.
Sophie Tamari relates to the journey between heaven and earth with humor.


Curator: Prof. Yarom Vardimon
Opens: October 1 2007

Closes: March 8, 2008