I arrived to the art scene after years of working in the field of architecture. The way in which I perceive and interpret terms of space, time and physical or mental states is reflected through various forms of abstractions. My gaze peels off concrete elements off from their surface, disengages them from their immediate context and manipulates them into dissolution and abstraction. A principal focal point in my work relates femininity and womanhood, as I present a condition of near abrasion of the photographed presence. The object moves between the poles of presence and absence, between void and space. I examine through objects the appearance and disappearance in both the physical and the mental spheres.

The photographic medium divulges other facets of the dialectic between the internal and the external while it questions material, tactile, sculptural, chemical, and poetic aspects of the medium.

I approach light or surface as sculptural materials and use them in various ways, challenging the practice of ‘nature morte’. I consciously withdraw from narratives or directly realistic images and thus create an enigmatic and impalpable image that can be interpret in terms of the medium of painting, such as colour, composition and surface.

In my works, one can find a state of something coming into being, an intermediate state, a kind of potential. The abstraction of an object allows one not only to explore inner-artistic inquiries into the foundations of visual art, but also brings about discussions regarding questions of existence in a liminal state, of formation, and of perception of a particular moment, where something is just about ready. In that, I translate a state of consciousness into a visual image.  Whether it is a monumental or minor image in its presence, whether physical or sensory - it strives to undermine the habitual perception of space and offer a strange mixture of surrealism and reality.

nurit gal

>Bio

(עברית)

I arrived to the art scene after years of working in the field of architecture. The way in which I perceive and interpret terms of space, time and physical or mental states is reflected through various forms of abstractions. My gaze peels off concrete elements off from their surface, disengages them from their immediate context and manipulates them into dissolution and abstraction. A principal focal point in my work relates femininity and womanhood, as I present a condition of near abrasion of the photographed presence. The object moves between the poles of presence and absence, between void and space. I examine through objects the appearance and disappearance in both the physical and the mental spheres.

The photographic medium divulges other facets of the dialectic between the internal and the external while it questions material, tactile, sculptural, chemical, and poetic aspects of the medium.

 I approach light or surface as sculptural materials and use them in various ways, challenging the practice of ‘nature morte’. I consciously withdraw from narratives or directly realistic images and thus create an enigmatic and impalpable image that can be interpret in terms of the medium of painting, such as colour, composition and surface.

In my works, one can find a state of something coming into being, an intermediate state, a kind of potential. The abstraction of an object allows one not only to explore inner-artistic inquiries into the foundations of visual art, but also brings about discussions regarding questions of existence in a liminal state, of formation, and of perception of a particular moment, where something is just about ready. In that, I translate a state of consciousness into a visual image.  Whether it is a monumental or minor image in its presence, whether physical or sensory - it strives to undermine the habitual perception of space and offer a strange mixture of surrealism and reality.