אמנות ועיצוב
Eye and Mind* – Carmela Eldar
Reality, imagination, and what is in between them... Eldar’s practice of painting depends simultaneously on the process of internal reflection and contemplation of the artistic act in general and of her own artistic act in particular and the process of ongoing contemplation of nature. She approaches the latter by examining and identifying the internal order in the animate and inanimate, as compared to the wild freedom they manifest.
Carmela Eldar
Curator: Vera Pilpoul
Reality, imagination, and what is in between them... Eldar’s practice of painting depends simultaneously on the process of internal reflection and contemplation of the artistic act in general and of her own artistic act in particular and the process of ongoing contemplation of nature. She approaches the latter by examining and identifying the internal order in the animate and inanimate, as compared to the wild freedom they manifest.
Her quest for another way to express the contrast and the shared that exist simultaneously in these two poles, as well as to synopsize and simplify the images and forms, led Eldar to geometry, the perfect solution.
Her work process gave rise to additional meanings: thoughts on reality as a sort of illusory manipulation, an optical illusion and misapprehension of the reality of life today. The complex, meticulously executed geometric work, with such precise lines and color, started to become a metaphor of humanity’s false sense of security and stability. For humanity is subject to pressure from every direction, in both the private and social spheres as well as due to the global, political, and the diplomatic situation’s impact on the individual's life and surroundings.
As Eldar delved more deeply into the process, the geometric lines grew increasingly simple, becoming free and expressive, while the geometric work is manifested through strong, varied colors. This creates the effect of an optical illusion as the works remain monochromatic. She intentionally utilizes monochromatic colorfulness out of a desire to capture the image from its natural starting point and to distill forms from it, that reverberate from the expression of the artist’s hand on the great canvas and capture the complex movement, the tumultuous moments, and the creation.
*The exhibition’s name comes from the title of philosopher Maurice Merleau-Ponty’s 1961 work, Eye and Mind.
Curator: Vera Pilpoul
Reality, imagination, and what is in between them... Eldar’s practice of painting depends simultaneously on the process of internal reflection and contemplation of the artistic act in general and of her own artistic act in particular and the process of ongoing contemplation of nature. She approaches the latter by examining and identifying the internal order in the animate and inanimate, as compared to the wild freedom they manifest.
Her quest for another way to express the contrast and the shared that exist simultaneously in these two poles, as well as to synopsize and simplify the images and forms, led Eldar to geometry, the perfect solution.
Her work process gave rise to additional meanings: thoughts on reality as a sort of illusory manipulation, an optical illusion and misapprehension of the reality of life today. The complex, meticulously executed geometric work, with such precise lines and color, started to become a metaphor of humanity’s false sense of security and stability. For humanity is subject to pressure from every direction, in both the private and social spheres as well as due to the global, political, and the diplomatic situation’s impact on the individual's life and surroundings.
As Eldar delved more deeply into the process, the geometric lines grew increasingly simple, becoming free and expressive, while the geometric work is manifested through strong, varied colors. This creates the effect of an optical illusion as the works remain monochromatic. She intentionally utilizes monochromatic colorfulness out of a desire to capture the image from its natural starting point and to distill forms from it, that reverberate from the expression of the artist’s hand on the great canvas and capture the complex movement, the tumultuous moments, and the creation.
*The exhibition’s name comes from the title of philosopher Maurice Merleau-Ponty’s 1961 work, Eye and Mind.
