SELECTED WORKS IN EXHIBITION
Drywall compound, gesso, graphite, ink on canvas
36 x 48 in.
Deconstructing Permanent Concerns
Deganit Berest, Carly Butler, Omar Gámez, Atsmon Ganor, Shai Kremer and Ram Samocha.
July 23 - August 30
Opening Reception: Thursday July 23 | 6-9PM
Julie M. Gallery is pleased to present Deconstructing Permanent Concerns, an exhibition featuring works by Deganit Berest, Carly Butler, Omar Gámez, Atsmon Ganor, Shai Kremer and Ram Samocha.
Each of the artists in this exhibition explores their relationship with diverse fluctuations that influence their understanding of social concerns, and stimulate their own approach to art making. Dealing with notions regarding liminal states of consciousness, nostalgia, regret, construction and deconstruction, the works in this exhibition allow the critical examination of singular elements that address the recognition of oneself as part of a greater context.
Berest, a heavyweight in the contemporary Israeli art scene, creates a threshold where the viewer might oscillate between seeing the geometric abstract forms in her work as meaningless, and experiencing the recognition of specific images through careful consideration.
Underpinning the content and aesthetic of Butler’s work is a relationship to the sea, using the subject of navigation and survival to reflect on issues around longing, regret and nostalgia. Her work is deeply linked to personal memory and her unsatisfied desire to escape the confines of conventional living.
Gámez often dances on the razor-thing line that divides documentary and fiction. His work is highly influenced by an interest in the human body and its interaction with several social and natural structures. Through unknown subjects, his photographs often manage to evoke a process of self recognition and inner dialogue, effectively reminds us of our ability to draw parallel narratives between a stranger’s experience and our own.
Ganor draws selections from a personal archive of archetypes—ideas, words or images that demand repeated artistic engagement. His playful manipulation of words confers them an erratic, decontextualized quality that becomes entwined with the connotations associated to the object in which he has print them.
Much like Berest’s work, Kremer’s pieces require careful analysis in order to be properly understood. Often mistaken by abstract paintings at first glance, these photographs are composed of an array of layers that conform a strong commentary on modern society’s obsession with deconstruction, construction and consumerism. By moderating the opacity of each layer, Kremer condenses time, space and sociopolitical referents into engrossing abstract visuals.
Ram Samocha’s metalpoints on rock paper strongly allude to his own understanding of the current reality of his natural Israel. They also cumulate into autobiography. The narrative of Samocha’s migration from Israel to Canada to England is subjectively filtered down to daily experiences and further distilled into symbols that are meaningless on their own, but together create a legible language. Samocha’s sculptural drawings are the result or process-work and repetitive gestures that manage to capture strength and conviction.