SOCIAL DISTANCING - 44 degrees online art magazine

Page 1

All rights reserved Š From 2013




GILA MILLER LAPIDOT ISRAEL Sculpture and installation artist. Member of the "Ceramic Artists Association of Israel" and of the "International Academy of Ceramics". Takes part in local and international exhibitions, biennales, residencies and symposiums. The social distancing, imposed on us by The Corona (Covid-19), is not new to me as an artist. I work alone in my studio avoiding any level of social interferences. Instead, I enter into my silence, shelter like, zone. I believe this is the healing as well as the creating space. My works here derived from my belief of one self as well as the whole world purification and healing through social distancing, lonely-hood and silence.

"Isolation", ceramics, 48X48X50 cm, 2011, photo: Ran Erde

"Silence" (out of a series), porcelain miniature, 7X7X7 cm, 2015, photo: Ran Erde

"Lonely-hood", ceramics, 21X9X22 cm 21X7X20 cm, 2011, photo: Ran Erde

"Silence" (out of a series), porcelain miniature, 7X7X4 cm, 2015, photo: Ran Erde

ETI GADISH DE LANGA ISRAEL Born in 1957. My home and studio are on the seashore, in recent years I sculpt in wood, in a minimal style combined with rusty iron, rubber, wax, raffia, and other materials I find outside. I graduated “Hamidrasha Leomanut’’ and completed my M.A in Art Education in ‘’Leads University’’. I had single and group exhibitions in Israel and abroad, and I am present in various private collections. My art deals with time, temporariness, transitions, sexuality and femininity, which express themselves in various images such as boats, houses and figures.

Video about the artist

OWN,40x15x30, wood, rubber, 2019

WATCHING, 50x15x15cm, 2019, wood

ALIENATION, 60x30x15 mix media 2019

GROUP ,50x30x15cm, 2019, wood, rubber

DORI SCHECHTEL ZANGER ISRAEL My work has always had a political, social stand. I deal with pollution, social exploitation and environment, War and religion. Showing how we are drifting apart from the same planet we depend on. It always felt like I was talking about something that is happening far away from my comfortable life, something I read about or saw on TV. And now it is knocking on my front door. Corona brought masks, limitations, and social distancing to my home, my family and my everyday life. My work is all about the distance we keep from things we don’t want to see and now those same things are distancing us from one another.

The promised land ltd 2019. Hand built ceramic Earthenware, 55X30X47 cm2

love my doll. 2019. Hand built ceramic Earthenware, 65X27X23 cm (2) The promised land ltd 2019. Hand built ceramic Earthenware, 55X30X47 cm

fresh air limited edition. 2020. Hand built ceramic Earthenware, 62X42X19cm

HEDVA REUVEN ISRAEL My work in the field of ceramics and three dimansiality, have led me, during this time of imposed quarantine, on a search for new ways to cope with the uncertainty and lose of control. In these works, a collection of imagery in dominant monochromatic colors and a burst of color, spiced with the aroma of yellow lemon and turmeric. In them are executed works of cutting, engraving and perforating. There is a tension between intimacy and strangeness at the intersection with the alien. The personal and known characteristics of home, a bird and veil– turn the longing for security and control from within the known and familiar, from alienation and distancing in the shadow of fear, in the shade of social isolation.

Part of the series "veils", 2020, mixed media on paper and metal, ø20X25 cm

Part of the series "veils", 2020, mixed media on paper and metal, 40X20 cm

RONI REUVEN ISRAEL In my works there is a tension between the polar, a desire to grasp and loosening, a genesis landscape– dark and stormy which does not leave room for void, water everywhere crashing, unearth animal remains in a compressed and concentrated composition. The time of Corona has depend the seeping threat. In forced isolation I went out to the street and collected wood cuttings and boxes that were discarded in the public space. On them I have drawn abandoned gloomy caves, raging waterfalls and tangled forests. On the ground, swarming ants annihilating every decent plot, liable to each other. The relationship between the closed, isolated man and the awakening of nature.

Part of the series "sanctuary", 2020, mixed media on wood, 40X40 cm

Part of the series "sanctuary", 2020, mixed media on cutting board, 30X30 cm

Part of the series "sanctuary", 2020, mixed media on cutting board, 24X120 cm

Part of the series "sanctuary", 2020, mixed media on plywood, 30X30 cm

COCO JOHNSON UNITED STATES As an emphasis was put on making your own protective mask at home during the Pandemic, I began sewing fabric breasts into a protective helmet or shield. Once completed, I decided to push the concept further by making a protective body suit. In isolation, I used myself as a model. I began exploring the relationship I have to my body and the effect of performative movements. Being blind within the body suit, the actions I perform depend on mood, physical touch, how I navigate my environment, and the surrounding noise. The blindness furthermore allows me to explore choreography that flows naturally throughout my body. The process partially resembles an interpretive dance. The long exposure captures my movements rendering them continual and fluid, yet I am restricted to a confined space. The physical force of domesticity fights against my body and its actions. The title Body Armor felt appropriate for the series as it derives from a time when populations are protecting themselves not only from disease, but also from many forms of prejudice. The work serves to embrace the body, a place of empowerment, with all its unique flaws and raw power of the unedited. It is a way to accept one’s self and to view others without judgment of the physical body.

Body Armor No.15, Size: 5" x 6“, Long Exposure Digital Photograph, 2020 Body Armor No.25 ,6" x 4" ,Long Exposure Digital Photograph 2020

Body Armor No.23, 6" x 4“, Long Exposure Digital Photograph, 2020

MICHAEL GATZKE GERMANY Project description "Disassembly” Installation with 9 machined dolls on metal bases (2020) ▒> Concept "In the midst of a life that must go on, it has become lonely. Leaden seems to be every effort to keep in touch. Distance is a general civic duty..." This is the verbal attempt to describe the current situation. The official social distancing in many countries is the starting point of my work. My approach is to transport the consternation and mood in this unprecedented situation as an installation into a work of visual art. To make our current soul space a visual experience: to trace the fear, loneliness, alienation that is everywhere in the air. ▒> Description of the work I got myself 9 dolls and worked on them intensively. As a result of the design and painting process, the dolls lost their little dresses and the childishly kitschy. They now look more androgynous, more lifelike and affected. You could also say "more creative". I present the 9 figures on small metal beds. Between these the currently omnipresent distance is kept. ▒> Essence of the work The aim of the installation is to make the social distance created by the Corona epidemic "(tangible)". I have tried to shape my perception of the surreal situation into a three-dimensional image in which I find myself and perhaps other viewers as well. In doing so, the work may well evoke feelings, but at the same time it should also remain a piece of unapproachable and strange, i.e. not be perceived as a romantic fairy tale. For human life is always in parts a tragedy and yes, subject to absurdity. I have tried to grasp the fatal and tragic condition inherent in social distancing on the one hand, and on the other hand to extract an artistic-ironic component from the forced dismantling.

JOZSEF RAZ ISRAEL A Digital Artist Photographer. Visual Graphic Design and History of Art graduate . On the way from the Analog world to the Digital world, I went from using direct contact of the materials such as: Celluloid, Steel, Wood, Glass and Canvas to the Digital world where I collect all the materials for my work using the camera and the scanner. The computer's mouse is my main tool to draw and scalp my work of art. My work expresses "searching after the beauty in the ugliness and the ugliness in the beauty" and creates an illusion of the fantasy world.

TAL ESHED ISRAEL I am working with materials such as the human body, nature, and enigmatic surrealistic images. I am influenced by the philosophies of both East and West, looking for balance and links between the ongoing cycle of life – death – rebirth and beyond. The project of "Dive In…" has been evolving for the past 15 years and it seems that it is more relevant now than ever. As a world viral epidemic is controlling our lives and we are physically restricted by laws of social distancing and isolation there is a stronger need to become a pack and a tribe of humans again. The photographs that documents a social practices- based performance that is driven by passion and belief in the shared power of people to bring change into the world. Through the impact that the frequency of thoughts, words, and energy has on our water reservoirs to make them clean and create positive change in the world by healing the water inside us and in our universe. The project

DiveIn... the Outdoor Performance, 2017

Portrait DiveIn... theOutdoor Performance, 2019_03

Portrait DiveIn... theOutdoor Performance, 2019_02

DiveIn... theOutdoor Performance, 2019_02

ANAT GOREL-RORBERGER ISRAEL Keeping our Distance. The last few month were challenging. Not just physically but fighting demons from inside. The other became a kind of the enemy. We were left alone in a chaotic reality who forced us to face our fears. I was fascinated with the new corona routine. The masks, the distance, the uniformity of the whole world. All of a sudden there was one language for all. Dystopic reality everywhere. My works reflects it.

RACHEL FRANK ISRAEL Painting and sculpture is my deep inner need. I paint in a variety of techniques. Recently most of my paintings are in acrylic. My current paintings related mainly to nature, colorful and optimistic, especially landscapes and flowers. Most of my sculptures are of women and couples. Images of rest, detachment, exploitation and self-image are integral part of my work. The ideas for paint and sculpture that translate into art come from inspiring places and especially from sights and thoughts, in my life and around me. Transferring ideas and reviving them through the canvas and the sculpture in clay, with its flexibility and the ability to convey thought, image, feeling or idea into tangible three- dimensional object, has always fascinated me. Some of the sculptures I cast in polyester and bronze materials.

Glazed clay Friendship 30x25x14 each 2019

JOHNNY EYAL ISRAEL I create within a variety of materials such as food products, oil, acrylic, body fluids, hair etc. I deal most of the time with abject art and bringing up the issue of gender dysphoria. following the Corona crisis, I started developing digital images. I believe that the next artistic phase is trying to invade the forced social distance and break through it. To create a new form of closeness within its limits.

Keeping, distance(202), a mixture of online newspaper clippings and abstract editing in Photoshop, triptych, 20X30 each piece.

Thought‌(2020),a photograph in black and white (digital),30X40

RuTea S. NOY NEW YORK I am a multidisciplinary artist, fine art photographer and visual narrator. My work is poetic, musical, and entertaining With brushes, cameras and software it communicates stories to those wishing to explore everyday life in a non-conventional fashion, heal, find strength, hope and inspiration. WEB SITE

Artistic photography-Still Life

Artistic photography-Last Corona Beer Bottle

LINN MEMRAN ISRAEL I am a photographer for the past 7 years and a textile designer. I was born in 1977 and raised in Israel and live there ever since In my creation I Examine the cultural boundaries, What is allowed and what is not allowed. I can be Critical, blunt, gentle ,sensitive, wondering. i get inspiration and I choose the materials I work with from my daily life and my surroundings : food, stuff, nature i treat the body as material, i manipulate it : Stretching its boundaries, Exert power on it ,tying, Crushing, Distorting, changing, drawing, sticking on it.

Pillows, color photography, 2020

Growing, colore photography, 2020

HAGAR ZEEVI ISRAEL Most of my works are done using the sculpture medium. They are driven from my passion to experience all of the different materials through my hands, My inspiration is coming from what I consider to be the last remaining relics of the organic nature in the urban modern day environment. This natural against the unnatural beauty creates a fine line that bonds the two things and as I walk that line, I am seeking after our nature’s hidden in our daily life.

Bread crust, 2020 plaster and wood ,casting 45x50x72

No title,2020 metal and plectranthus neochilus plant 120x15x15 cm

SKETCHLIGHT ISRAEL Sketchlight was established in 2014 by two women artists Ray Vagner & Keren Eicher Light painting is an art form, a combination of painting and photography, darkness is our canvas and light is the brush. All of our artworks are pictures Light painting created in real time captured to the camera in one single photographic frame. Without Photoshop intervention Light painting is an art form of technique that consists of creating Images by capturing the movement of light. In all our creation we do the lightning by hand, we see the movement constantly changing. We are exploring all kinds of technique some of our work highlights the abstract nature of light, we are inspired by the beauty of light in all it various forms. Light painting is a clear testimony to the beauty of the phenomenon of light. The creative potential of light brings new sensations, new colors and new meaning to our lives. WEB SITE

H.O.P.E, (Hold On Pain Ends), can be printed to any size, light painting photography

ELAD ARGAMAN ISRAEL The series of self portrait photos 'Trials and Tribulations Takeaway Tutorial', was taken in my home at a time of isolation, uncertainty and a sense of total detachment with the world outside my front door. In this time of crisis, it seems our very skin is in the forefront of the struggle. Since the pandemic hit the streets of London, I have become so much more aware of the sensation of touch. Each encounter with the outside world leaves my fingers with a tingling sensation, as if holding the memory of the last place my hand rested. Mostly, I find my hands are best secured deep within my pockets. Amid this time of uncertainty and over the top health measures, our skin is most vulnerable. Being the largest organ in the human body, what if we could shed and grow new skin as casually as we put on a jumper before going outside, or throwing out the trash. WEB SITE

ELI BASRI ISRAEL I am 64 years old, lives in a small town in Israel. I started my interesting in photography 35 years ago. I am a self-taught. As an amateur photographer, my main interests comprehends many areas especially landscape, nature, abstract, street photography and urban. I always look for the rare light and weather conditions that enable me to emphasize the subjects in a special way. I took part in many exhibitions and competitions, and my works published in magazines.

NETA GRACEWELL ISRAEL I am an observer and creator. Wherever I am, I wander my area and respond to things I see in writing, performance, photography and crafts. It started with an idea for a street painting - I found a large pot placed against the outside wall of my building, bare, with no plant in it. I thought I might paint a tree for it, and right away came the idea of a tree that grows masks. It was only a while after that I realized I can turn this into an installation of a real tree. I find the idea of seeing masked faces (while important to our health) extremely unnatural. The forced entrance of this material to my lived environment has sparked extensive thinking about our changing social behaviours and urban landscape. Perhaps this is my attempt at accepting it as a part of our new nature. YouTube

MaskSeason_2 – 5358 x 3846 pixels, July 2020

MaskSeason_5 – 3840 x 5120 pixels, July 2020

PNINA ABRAMOVICH ISRAEL I bring together combinations of pagan and contemporary traditional practices and symbols as well as combinations of primitive and modern art-making practices in order to allow them to reflect on one another. The relation between specific art practices and the ethical and mystical ideas behind my work constitutes the core of what I’m doing.

Me and The Moon, 2020, Photography (collaboration with the photographer Haim Bargig), 30x20sm

NARIN SHECH ISRAEL I am a multicultural and multimedia artist currently living and working in the U.S. Through my artwork, which primarily utilizes time- based media, I examine issues concerning the fragility and complexity of the human psyche, and concepts of femininity and female identity. I obtained my MFA in 2016 from the Rochester Institute of Technology and am currently pursuing a PhD in Emergent Technologies & Media Art Practices at the University of Colorado Boulder. As part of my current scholarly research and studio practice I am exploring how the distinctions between beauty and sublimity, as they arise in aesthetics and philosophy of art, influence (mis)representations, and subsequent impressions, of the female-qua-human experience and of mental disorders as manifested in and via the female subject. My artistic background includes theatre, dance, performance art, sculpture, painting, photography and video art. Link to video piece on:

SHUNIT FLAKO-ZARITSKY ISRAEL I was born to a Finnish mother and an Israeli father and grew up in a small village in Israel. The cultural contrast in my dual origin is reflected in my work. I hold a M.Sc. in geology and have worked in the Israel Water Authority lab. Photography for me is an exploration that requires research and precision. Water follows me throughout my life, starting with my name (Shunit is Hebrew for 'reef'). I am a swimming instructor and hydro therapist and I worked in the Israel Water Authority lab before turning to photography. For me, water is about research, therapy, and refuge from life’s emotional and physical burden. The “Swimmer” series was born during the COVID19 quarantine. While being confined to home, I found water right there.

All the photos were taken by Canon 6D Mark II (Raw resolution).They can be printed in various sizes and I have higher resolution versions (TIF) which I am happy to provide upon request

TAMMY MIKE LAUFER ISRAEL I am an international contemporary digital artist and art director, engaged in digital media and exhibits projects of video art and digital paintings in galleries and museums around the world. My works are similar to mental puzzles, where you can travel from one point to another by analyzing a picture’s symbolic objects. There is always something for the observer to discover. I never force my vision or push my philosophical opinion on the viewers each and every one, can give theirs philosophy to my creation. My art is a surreal reality, all in my head. The viewer is taken a journey to places just as real as those you might find in this reality. When I start working on a new scene, it's like enter to a fantasy dream. like starting your new only virtual world. “Everything is possible” and in the majority of my works I am trying to combine visual realities, with subconscious emotions and philosophical thoughts.

Social distancing–Digital drawing, - 40X40CM, Limited Edition 6, 2016

Digital drawing, Calling from a distance, Limited Edition 6, 2016

Digital drawing, Calling from a distance2, Limited Edition 6, 2016

ALEJANDRA MORALES MEXICO I paint scenes typically associated with the feminine, the tender, vulnerable, delicate and fragile. However, I am not merely trying to paint a pretty picture. Instead, I intend to create a distorted reality, a scene that is trying too hard to be aesthetic, resulting in something exaggerated, baroque, and cynical. I believe the excessive use of ornamentation can be seen as reflective of life’s negations: clichés that have lost their innocence without spreading wisdom. John Currin, one of my “pictoric” references, expresses that good melancholy comes from thwarted joy and that’s how, through compositions that are both pleasing and grotesque, I confront the viewers with their own underlying desires and lusts.

Píntame unas enchiladas, 80 x 100 cm, Oil on canvas

No se espera que luchemos, 100 x 80 cm OIl on canvas

Agradecida por la papaya, I30 x 40 cm, Acrylic and oil on canvas

Agradecida por la papaya II 30 x 40 cm Acrylic and oil on canvas

FANNY HOROWITZ ISRAEL In my current project, I combine formalist work with narrative practice pertaining to my culturalautobiographical origins, returning to the immigration processes I experienced as a child. The association that comes to mind is of an infinite personal process of cut-and-paste. Lately, in these recent few months of social distancing, as a new way of daily life is imposed on us, I am experiencing again that sense of cut-and-paste, to which I naturally respond via mixed technique in the language of collage. My collage technique includes figurative works in oil on canvas, etchings in assorted techniques, as well as collage works on paper in mixed media. Some of my collages are printed in small limited editions and in different sizes, on Paper, Metal or Perspex.

Table for dinner, Collage on canvas 50X35 cm, 2020

Self-portrait with pearl necklace and disposable gloves Oil on canvas, 30X30 cm, 2020

Collage on canvas. Interior with a Red Sofa, 35X45 cm,2017

Fiction, Oil on canvas, 60X75 cm, 2016

SAM HEYDT UNITED STATES Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it. Illusion won’t free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. As the social landscape becomes increasingly fractured and alienated, the natural world is liquidated and substituted with an artificial one. The silent landscape’s a symptom of a world exploited beyond use and increasingly reduced to a bottom line. Our time is marked by mass extinction, diminishing resources, global pandemic and climate change. The vices of the first world are the burden of the third. The anxiety of our era has to do fundamentally with space, as opposed to time, which functions as distributive operatives to spread out space. However harm here, is harm there. The two decade long war waged against “terrorism” has resulted in a mass refugee crises, the pollution produced from manufacturing our products overseas is the contributing factor behind to global climate change. You cannot dislocate the rising of sea level or reroute cataclysmic storms. Yet for decades the West has proven successful in keeping the repercussions of their actions out of sight, out of mind. But there is a limit to everything.

Peak into Future Prospects (2020) Collage on Panel | 32" x 30"

Bleach (2020) Mixed Media Hand Cut Collage on Panel | 24" x 30"

If utopia or dystopia can be conceptualized as a reflection in the mirror, an unreal ‘placeless place’, the concept of heterotopia can be understood as both the reflection and the mirror itself, simultaneously real and relating to the space surrounding it, and unreal in the virtual image it reflects. A world within a world, heterotopias creates a space of illusion that exposes every real space. It is both an inverted analogy of society and a parallel space to reality, an approximation of (dys)(u)topia and a space of radical difference transparent to, or of indifference to, their inhabitants. Appropriating the discursive framework buttressing heterotopia, this body of work collides two realities into a singular space, both real and unreal. In relation to time, the events illustrated can or are occurring simultaneously albeit geographically estranged. After all, we are in the epoch of simultaneity, of juxtaposition, of colliding spacio-temporalities. Conflating time and place, the layered imagery merges and disrupts logical relationships between occurrences presenting multiple histories and narratives within a singular frame or iteration. Combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for.

Lady Liberty (2020) Hand Cut Collage on Panel | 30" x 24"

ONYEDIKACHI ONWUSOR IRELAND The nonchalant attitude of man to basics of life inspires me. My work is characterized by recognized subject matter with an interpretation that synthesizes the essence of the subject with the qualities of abstraction. I reach to express my concern for the subject while retaining the power of strong and simple shapes that celebrates the sensual character to establish my composition. I take great joy in applying thick- lush layers of the paint using palette knife and bond the sections with bold black line. My work reflects my own deep view on Life, a desire to bridge Realities. Communicating on subliminal levels my art delivers this message through positively charged intention, embedded conscious messages, healing prevalence of color and energetically balanced composition. My canvases are influenced by cubism and realism, they are bold, passionate, colorful, vibrant, all– intuitive. Finally, the ultimate goal of my work is to have my subjects speak to the viewer.

Body no be firewood, 76 x 91.5 cm Medium: Acrylics on canvas, 2018

Body no be firewood, 76 x 91.5 cm Medium: Acrylics on canvas, 2018

Times and Tides, 61 x 91.5 cm Medium: Acrylics on canvas, 2018

ROSE BAR-NUR ISRAEL As an infant, I was spellbound by the unique sound the pencil makes when it came into contact with paper. When I was four years old, inspired by the pictures of fairy tales that covered the preschool walls, I decided that when I grew up, I would draw all the fairy tales. So began my love story with the world of painting, with countless pencil sketches. I grew older, the topics changed, but my passion for drawing never diminished. At the age of fourteen I picked up a brush and have never laid it down. Today I work in oils, in a realistic style. My topics are taken from life with hints of symbolism. In my paintings I observe the complexity of social distancing, gender, old age, poverty, existence and death. My paintings freeze real-life situations that conceal questions. For the last two years I have devoted all my time to painting. I dove into the world of art with the purpose of creating, and expanding my expressive range. Facebook

Point of view, Oil on canvas, 50x70, 2019

Social distancing. Graphite on paper, 35x50 cm, 2020

Revival, Oil on canvas, 80x70 cm, 2019

Spouse capsule, Oil on canvas, 75x50, 2019

HAVA ZILBERSHTEIN ISRAEL After twenty years of art teaching I preferred to devote myself to art only. In the last fifteen years I create my works by etching on zinc and aluminum plates. This technique is the most suitable to express myself because of the character of the textures. In my works I use figures made of lines and stains, situated in abstract and vague environment. All Untitled, 25X20cm, 2011 WEB SITE

AMI SHINAR ISRAEL I was born and I live in Tel Aviv and my art is closely associated with the city and its people. Through art I also express my discontent towards the current political scene in Israel. Some almost surreal scenes are depicted in my latest paintings (2020) such as Demonstration in Rabin Sq. during Corona describing the very essence of urban life – many people in "social distance", each one stands alone, yet they are all together. My painting Unanimously 1 shows Israel's Supreme Court discussing the legitimacy of our Prime Minister to form a new government, while Unanimously 2 describes the unprecedented event of our Prime Minister himself, surrounded by his loyal ministers, all faceless, and threatening the Supreme Court to drop the case altogether. I believe this leaves no doubt as for my opinion. My artwork goes hand in hand with my practice as an architect, being a partner at Mann-Shinar Architects firm, one of the most prolific firms in Israel whose works are frequently hailed in Israel and abroad.

Our Government, 2020, acrylic on canvas, 100x100cm

Unanimously 2020, diptych, acrylic on canvas 100X200cm

2020, acrylic on canvas

ADAM LAND UNITED STATES My primary goal when creating abstracts is to breathe life into what I do. One practice is to make sure that I do not stay locked up in the studio for too long. I enjoy exploring the world and other forms of art for inspirations. This balance helps keep my artistic energy renewed and exciting. This relates to new ideas and the ability to stay excited about what I do every day. I interact with the canvas while painting, in the sense that I do not use an easel, but instead lay the framed canvas flat while constantly moving around it. I interact from each side and angle and have the freedom to engage in the piece in its entirety, an improvisational journey with unexpected twists and turns. Working in this manner allows me to create gestural movements and markings with my hands, as well as numerous tools. The total immersion into the physicality of my process helps me connect with the composition, entropy, texture, and color theory while constantly seeking the most pleasing mix of all components. The abstract composition allows for interpretation, and my hope is that it affords the viewer a unique experience.

Plotted Agenda, 60x48x1.5, Acrylic, 2020

Muted Shouts, 24x18x1.5, Acrylic, 2020

Segmented Conversations, 40x30x1.5, Mixed Media,2020

ORNA ADORAM ISRAEL All my works are originals multi- layered acrylic on canvas combines the practical world of industrial architecture recycled materials, with symbols and concepts from the spiritual world. All are transformed together onto the canvas. Abstract works, characterized by harmony of colors and shapes, are minimalist yet powerful. The works presents combined world of contrasts between time and place, past and present, material and spirit, moments of mercy and emotional range. A profound observation will reveal the layers of color, life, places, situations, emotions and experiences which join and complement each other. All works are acrylic on canvas mixed media with recycled building materials.

56x38 inch (140X95 cm). Love 2016

56x38 inch (140X95 cm). Love 2016

61x38 inch (154X95 cm) World of stamps - send me a letter 2020

28x38 inch (70X95 cm) longing for NY (co-creation Arnon Kraemer) 2020

DALIA SEGEV ISRAEL In the social distancing there is an element of observing the normative and the different in human behavior. The subject has occupied me during my creative years with a growing awareness of this period. A related issue that I dealt with is the remoteness and the differentiation of ultra-Orthodox society in relation to women. Some of the works I submitted appear in my artist book on the topic of women's exclusion, a subject that very bothered me when I was living in Jerusalem. I love working in oil paints and mixing techniques. I draw from looking at the model and then develop the work into a complete work.

Being outside, Mixed media,17X27 cm,2012

Empty places, Mixed media, 17X27 cm., 2012

Corona Days, Oil on canvas,15X15 cm., 2020

AYELET BERMAN ISRAEL The desire to reflect the world through my eyes is what drives me to create art. I do this by painting, since childhood. My paintings, though figurative, start with color stains, without preliminary drawing. I usually work with oil colors, but recently also with watercolor markers. In the attached series of works, I would like to present some aspects of the social distancing imposed on us due to the Covid-19: introspection, facing yourself, staying away from others. WEB SITE All Alone, 70x60 cm, oil on canvas, 2016

The Lovers in Times of Corona and Toiletpaper Sortage (After Magritte), 30Ă—40 cm, oil on canvas, 2020.

ELI GROSS ISRAEL All my friends wearing masks. With my mask, I am one of them. I am wearing a mask that always smile, hiding my feelings behind a lie. At least I am still here. Nobody can see the pain I am feeling, I am strolling along deserted seashore, or hiding behind the evergreen bush. At least I am free to draw a line between us. At least I am still here.

Stalling along deserted seashore 40X50cm Acrylic

JOEL GILINSKY ISRAEL I have been practicing art for over forty years dealt with: '' The Sublime '' in most of my years as an artist. About eight years ago, I experienced a profound spiritual fracture, following which I changed my artistic direction. Where will a man who has broken his world go? To himself, to his history, to his childhood memories. My childhood memories are immersed in the light of innocence and joy ... through the painting of food boxes dating back some fifty years ago. To try and capture the atmosphere of life then. Openness, joy, beauty, longing, love, compassion are part of the concepts that illuminate my path, through distinct Israeli images that bring a smile, identification and longing for better times, to the viewer. VIKIPEDIA

Look from a distance 90x90 cm. Acrylic paint on wood. Years: 2016-2020

DAPHNA WYSOKIER DISHI ISRAEL My art focuses primarily on the continuous exploration of the internal state. I aim to give visual expression to the connection between my emotions and the Universal language of emotions, by creating images and textures that are expressive, and touch on both suffering and enlightenment. My art focuses on the relationship between pain and growth, as an ‘emotional alchemy’ exemplifying the power of change. My preferred medium is acrylic paint, which I use in several different ways: layered, scratched, spilled, sponged etc., in order to combine both the abstract with the figurative form. My choice of color is inspired by the stark, natural landscape of the Israeli Negev desert, where I spent my childhood, and where I now live and paint. WEB SITE

"Reflection" (2020) 120x120 cm Acrylic on Canvas

"Dreaming" (2020), 90x90cm, Acrylic on Canvas

HAGIT ARGAMAN ISRAEL For all of my life I have loved to draw and drawing has always been and will be an expression of the mysteries in my heart and my eyes. My drawings reveal my feelings, loves, and fears of things more powerful than words can ever express. Throughout my life, I have painted with different colors and different techniques, depending on my inner mood. Sometimes I mixed paint with coarse materials that added texture with presence on the canvas, while in other periods the color white in all of its minimalism took over, or other times I drew blurred figurative scenes. Nevertheless, the essential principle in my work is always the abstract. If I am leaving a clear visual representation for the viewer to see, I make sure to emphasize the hidden and blurred, and my intention is not fully clear, leaving something that is just mine. Various artists in their different periods have always inspired me like Picasso in his Cubist and Urban periods, or Moshe Castel who used course and mixed media incorporated in his paintings on canvas. WEB SITE

A loving couple ,oil on canvas 160X90cm, 2017

Oil on wood,30X40cm, 2017

MARINA LEVITAN ISRAEL A decade ago, I spent most of my day in a closed office space without daylight. When I went out in the morning, I saw the empty streets gradually filling with people. When I returned at night, they were empty again. I began to be aware of the change happening in a space when it fills up of the urban environment that surrounds me with endless sounds and colors. I strive to distill this music into a confined set of colors and shapes. Now I am again confined to a closed space of my studio and I turn to self-reflection and trying to create diversity that I lack, using objects at hand. FB

Corona Time, Landscape, oil 45x40cm

From my window, 30x29cm,oil

MIRA CEDAR ISRAEL Although I was painting since young, I haven't felt myself as a painter until I visited Kassel's Documenta at the year 1982, the age of 'back to painting'. There, suddenly, in one click, I understood that this is my place. At the beginning I painted realistic paintings and drawings from photographs and looking. The abstract came later and got it's last shape when I got acquainted with the form of the E..E.G test. The graphic description of the Epileptic attack was haunting for me, and so happened that the line is the main subject of my abstracts. My natural composition is the all-over one. It is as if I describe a piece, one frame from an endless two- dimensional world. For me the abstract is the perfect two-dimensional world! At the same time I made realistic and semi realistic paintings. Every technic or material got expressed in those two ways, sometimes two series at the same time.

Isolation,Panda on paper, 29X20cm

Safe distance. oil +laquer on paper, 70X100cm

JUDITH APPLETON ISRAEL I work from observation with a sense of immediacy to capture the light in a landscape or the impression of a figure in front of me. During this time of social distancing, I have been forced to work from photographs and have been thinking about the differences in the intimacy with the model and how it is reflected in the image. Thinking about masks generated another series, thoughts about myself, ageing, why I am making art‌ yet keep making pictures. My materials are charcoal, pencil, oil paints, back to acrylics and gouache in the ZOOM environment, which stimulated another series.

Thoughts on other masks: Guy, 2020. Acrylic on canvas, 30 x 20 cm

Thoughts on other masks, 2020. Oil on canvas, 30 X 20 cm

TZOOR EITAM AMICHAY ISRAEL "Faith is the way to fulfillment: find a talent, create an ability and, I promise you'll learn how to fly" [Tzoor Eitam] Education- Bachelor's degree of Visual arts. graduated "The Faculty of Arts-Midrasha of Art", at Beit Berl Kfar Sava (2015). Art and technique- Throughout "Leonard's Technique" I developed since 2000, I deal with uniqe Animation, Video Art and visualization art style which are shown as an eternal dimensions. The subjects engaged in my creations are basically performed as rebirth, mythology, history of art, reflection and relationships of male and female forms. I see life as individual stage, processing and teleportation to our Alter Ego's habitat, therefore I use Ultraviolet colors to present the unseen in ourselves. All that we see is one, all we have to do is believe we can see. Click on the photos to watch the video art WEB SITE

"Lonely" Video project technique 2009

"Touching distance away" Video project technique 2009

Nirit Takele

In this age of #metoo and #pressforprogress movements, it is especially appropriate to dedicate this issue of 44 Degrees to women artists in Israel. This issue is in collaboration with The Association of Women's Art and Gender Research in Israel. The main goals of the association, established in 2015, are to encourage the research of women artists in Israel. We also aim to serve as facilitators to contemporary women artists who are in need – by organizing events, shows, prizes and residencies, alongside helping them with networking, and by supporting scholarship about artistic activity. The association welcomes researches, artists, curators and art lovers of all genders and ages, from any religion, ethnicity, or nationality. Our hope is to have many members join us (please visit our website: In this issue we are proud to introduce four of our winning artists who received the prize "artist of the month", granted to members of the association. In the next issues we will introduce additional artists, aiming to unfold the rich variety of artists, techniques and themes that women artists in Israel are engaged in. Tal Dekel, Chair of Association of Women's Art and Gender Research in Israel Head of Visual Culture Studies & Curatorial Studies, Kibbutzim College

Takele is a colorist, building faceted figurative bodies through the application of near abstract flat forms. With a sharp understanding of the power adjacent colors impart upon one another, her figures pop from the canvas, with vivid dimensional depth. She explores her cultural heritage, illustrating the everyday life of the Israeli Ethiopian community and finding inspiration in old Ethiopian sagas and folk tales remembered from her youth. She is the recipient of several prizes and she has exhibited extensively in Israel and internationally.

Varda Berger Berger is interested in ecological and social themes. In her artworks she often depicts wild animals in danger of extinction and migrating birds as a symbol of living life with no borders. She also deals with gender issues especially inequality and oppression of women. She works in mixed media, with acrylic, paper and found objects. She has 25 solo shows exhibited in Israel and around the world and she won several prizes, such as the Kafka prize (2004) and the Leonardo prize (2011).

Talia Tamir Tamir works with oil paintings and crayons in a realistic style. She received a B.A. and a M.A. degree in art history from the Tel Aviv University. She has also studies art (drawing and painting) with Miri Lavie and Limor Barnea. Tamir took part in many group exhibitions in Israel, among them "Fresh Paint" (2018, 2019) and "Bread and Roses" (2016, 2018).

‫המודעה שלכם יכולה להיות כאן‬

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.