Gift of the Artist
Lior Vagima responds to nature with lyricism and a unique sensibility. Oscillating between still-life sculptures to staged life-like settings, Vagima's works demonstrate a blend of virtuoso technique and visual poetry.
A bouquet of withered roses connoting missed opportunities, unspoken words and undone deeds; wild weeds and bare root plants bursting through the walls are, in fact, images of nature's outcasts. Through them and their gloomy aesthetic, Vagima praises the marginal, the banned and the rejected for their tenacity to exist against all odds...
Graduation project, Dept. of Ceramic & Glass Design, Bezalel, Jerusalem, Israel, 2014
Mixed media and video installation (blown glass, armchair readymade, metal screws, metal wire)
Inspired by Gustav Meyrink's novel, "Der Golem" (1914), Gregori Zilber concentrates on the energy of the void mysteries of the physical and spiritual existence. In an attempt to construct meaning through the metaphor of the human body, and control the ways in which glass gains and retains meaning, Zilber created a life-size human marionette (a Golem?) made from hollow parts of clear blown glass. His dematerialized, mute, "speakless" figure - half-revealing and half-concealing - is like an empty container that can be filled with mental, emotional or spiritual content. Its power lies in its silence, its immateriality, its submissiveness - captivating and captivated at the same time.
KIFTC1 from the Pain killers series
Katya Izabel Filmus
United Kingdom, 2014
Cast crystal and dichroic glass, sandblasted inscription; organic materials, mixed media
Gift of the Artist
In her works, Katya Izabel Filmus investigates the relationship between memory and the formation of identity. Some of her works are informed by autobiographical memories, others seek to activate the viewer's memory, and still others rely on the ability of the medium to carry and preserve memory.
"KIFTC1" constitutes part of the ‘Pain Killers' series (part of Stanley Picker Trust Collection, Kingston University, London, England), which deconstructs the concept of individual identity. The work's title is composed by the initials of Katya Izabel Filmus Time/Tissue Capsule/Culture. Eight kiln-cast glass capsules are arranged to simulate pill packets. Each capsule holds two interlocked components: one is clear and the other colored, while a serial number and a blood chemical analysis is written next to each capsule. The negative space within the capsules contains traces of human memory: hair, fingernails, map, olive tree twigs, roots, and latex cast of body ash - forging a unique portrait of an individual.
From the series The Sacred Band
Blown glass, filigree canes, metal mounts
The work relates to the "Sacred Band" of Thebes of the elite force of the Theban army that ended the Spartan domination of ancient Greece in the 4th century BCE. This glorious troop was composed of 150 couples of male lovers, and was cited in ancient Greek sources as an example of military heroism and courage in battle, motivated by strong emotional homoerotic bonds. The lifeless, hollow, and transparent panoplies are decorated with delicate filigree patterns (a stereotypical feminine trait); thus, generating a peculiar sensation. By injecting feminine aesthetics into a par excellence male theme, Shpeizman questions stereotypical gender roles, while simultaneously forging interesting historical and cultural connections.