BEIT HAOMANIM TEL-AVIV |
curator : Joachim Shalev | 2010
In "CONTINUUM" Lev presents recent works which reflects on the nature and uniqueness of the art photography medium alongside a sincere and intimate exposure to human biography - that of the artist - as photography translates her in its unique converse. Her works over the years and in this constellation are characterized by pure beauty, almost transparent, and a connection between the beautiful and torn, damaged and incomplete. The unique combination of techniques - analog photography and printing on tablets of marble and stone, offers the viewer a bridging connection between the photographic momentary eyewink and the existency of permanent presence.
Lev's Work is conducting a dialogue with the essence of human fragile existence and continuity. Echoing references are used in her work as integral voices for successful bridging between two extreme poles of the art of photography: from the "moving picture", as displayed in MuyBridge groundbreaking work, and on the contrary capture of the momentary eyewink, presented here trapped on a large block of stone hereby literally awarded a weight to be reckoned with.
Dying Pine Trees, as perceived by Lev, sprouting abundance of acorns before and when sensing the approaching death as an act of placing a remnant in the world that they are leaving, are documented as individual entities, without the landscape in which they were observed and are thus offered a gentle commemorative, painful and very thoughtful. Photography, capable of translating split seconds in daily life into historical events, as those select in these works, provide the moment of documentation the historical gravity the biography of the photographed image deserves.
In a series of immigrant women "mothers" we are exposed to strong female characters, a kind of heroines with hints in their faces relating to their journey they travelled and biographical clusters typical of the whereabouts along such difficult struggles to endure. Isolated boulders canvases emphasize these same gullies-like lines in the stones indicating the make of time as noble roots are deeply planted in the stream of life.
Objects are detached from their natural surroundings and projected onto empty stone slabs. Yet, these seemingly lonely figures paradoxically evoke the idea of continuity of existence with the question of what was that which has brought them to this point in time and status. We transform our harsh and definitive blink-of-an-eye existence usually attributed to photographs and into a deeper empathic grasp trying to go beyond what is seen and complete the missing link – which we cannot proof or authenticate and that which turns the collective works into a united singularity.
The very technique of printing the image on the stone is similar in many ways to the work of the portrait painter centuries past. These professionals took to commemorate the object of his painting on the canvas through a long learnt preparation process before one could ever stroke a brush and start with the act of documentation. Preparation of stone or marble blocks as a platform for photography, the specific choice, the scars and fissures which make each stone unique, adjusted as a specific canvas to hoist a specific photography.
These patient processes are all essentially foreign to photography with its ever increasing ease and immediacy and is a prominent intriguing characteristic of this project. With the most common and local materials selected for this work carrying names like - Jerusalem stone, marble Bir-Zeit, Hebron Marble – goes to prove the existence of a local present which is preserved with in the stone cracks from the past when these moments were documented into the future, a continuum commemorating life and the here and the now.