Litvak Contemporary, Tel Aviv
Amir Tomashov: Far from the architectural practice, and far from the will to become an architect-planner or builder, I seek the clinical-critical point of view on the urban anatomy of the metropolis. I fantasize about utopian space and regard the existing space as something which should be treated with extra care in order to guard and protect it, for fear it too might be swallowed-up by the trauma and paranoia of the architectural battlefield. From my point of view, we are witnessing destruction, be it visible or hidden. The Apocalypse is already here, occurring all around us, and all that is left for us is to clear our vision and see that which is hidden behind ideals of political brutality, a heap of built topias, and the vitality of abundance that bites into our moral perception. The experience I try to convey is of the esthetics of destruction, and my work often deals with ruins, which calls to mind natural or man-made disasters. At the same time, my perspective is optimistic, as my attitude to the same post-traumatic landscape is one which offers a rehabilitation master-plan. We are in the age of healing. The transformation of ideas to the various media I use (sketch, draft, collage, relief, model, installation, painting and mixed media) offers a symbolic and instant comparison between the process of building and destruction, between mechanisms of accumulation and annihilation. The works of art aim to create a perception of architecture in which structures are created and destroyed by thought, an allegory to Late Modernism. My work is inspired by rambling, literature, cinema, television-newspapers-media, new media, historic and current events, leisure culture and my students.
Elad Kopler: My paintings present a movement between a concrete space and an abstract one. I usually begin with the latter – that is, with the formal aspects of painting. Then, in the process of painting, without a plan, I eventually reach a composition which allows me to depict a concrete, real space, which may be an urban or natural landscape. I am constantly seeking the delicate balance between the formal language of painting, which refers to a flat surface, and a depiction of a boundless virtual world. The line is a key element in most of my works. It may be an architectural line, or that of a tree branch. It guides my progress through the flat, two-dimensional surface and allows me to create or visualize a three-dimensional space. Each of my paintings is an attempt at freeing space from its dependency on logic. Therefore, many of my works present an image through numerous perspectives, disrupting the depicted space. Over the years I have noted that my work process also entails a turn to the past —namely, the history of painting. In addition to art-historical references, the paintings may refer to local or international political issues, or to psychological elements. The paintings are created in layers, over an extended period of time, with each layer partially covering the ones beneath it, making the signs of erasure visible. Through these layers, gradually, an unknown element is revealed, which is the painting’s final image.