Adi Fluman, who just opened her first solo show at Dvir Gallery in Tel Aviv, creates digital sculptures (using a computer) that explore the boundaries of representation and reality. She focuses on the tensions between juxtapositions, such as antiquity and modernity and the existent and the nonexistent. In addition, she simulates the material forms of elusive sensations and feelings, like certain smells. It is her goal to disorientate the viewer and present them with artwork layered with mystery. She hopes her work, which lies somewhere in between sculpture and image, will challenge traditional discourses about how both of these art forms should be viewed and discussed.
Having immigrated to Israel from Ukraine at a young age, much of Vera Vladimirsky’s work deals with identity and migration. Her pieces often use images of her former abodes, complemented by her remarkable memory of her earliest homes, as a lens with which to analyze what it means to belong to a place. Her use of photography to construct and deconstruct reality keeps the viewer on edge and her work will resonate especially with those familiar with migration.
Moran Kliger works out of a beautiful light-filled studio in south Tel Aviv that perfectly suits her large-scale pieces. Her body of work is based mostly on figurative and narrative drawings of animal-human hybrid creatures that tackle questions about domesticity versus the untamed side of humanity. Kliger’s oeuvre is diverse and consists of many different techniques, including printing and illustration. Her solo exhibition, ‘Darkness Upon the Face of the Deep’, will open at Basis Gallery, Herzliya, in March 2018.
Painter Daniel Oksenberg bases his work on daily photographs that he takes on his smartphone and later posts on social media. These are often mundane images, from a part of a bus to the floor of his shower. He then deconstructs the images and presents them through a new reality in his unique style.
The majority of Aviv Grinberg’s work consists of intensely detailed figurative paintings and surprising installations that relate to race, discrimination and an obsession with skin colour. Many of his pieces are a reaction to his south Tel Aviv neighbourhood and its inhabitants – mostly African asylum seekers from Sudan and Eritrea. His art is full of symbolism, such as his use of PVC tubes filled with chemical cleaning materials, which evoke a critique of the view of white being the prime symbol of sanitation and purity. Indeed, what he calls the ‘Albino Woman’ is a running theme in his work: she is neither black nor white, but pigmentless. To Grinberg, she symbolizes what he terms the ‘infatuation with whitewashing and the compulsive preoccupation with pigmentation’. The vibrant and intense colours that he uses only go to emphasize the albino woman’s lack of pigmentation and, in turn, his message.