|
Tova Lotan born 1952, Israel "Penthesilea", 1992 Original Hand-Signed Oil on Canvas -
Technique: Oil on canvas Image Size: 70 x 70 cm / 27.56" x 27.56" inch Frame: The painting is unframed
Tova
Lotan, multimedia artist (painting,
photography, digital media), born 1952, Israel. Education Artist's
Declaration by Tova Lotan, 2017 I am a multi-disciplinary
artist, working mostly with mixed techniques or different forms of "double
languages" employed to blur the boundaries between one medium and another,
and as a contributing factor to the elements that connect and/or disassociate
the medium with the image. The various
media I use exist within a visual spectrum, which examines the same subjects
from different vantage points, thereby expressing what might be called
"plastic commentaries" – that is, artwork designed to show the
connection between different cultural fields. Lately I have
been utilizing a number of techniques such as hand-drawn images combined with
digital and photographic processing, needlework on ready-made materials, and
painting-drawing on canvas and paper. The scale of my work varies from small
art works to very large painted or drawn installations, which often act to set
a physical or virtual space in motion. My body of work
is seemingly divided into various series which differ in the medium chosen or
their thematic subjects. However, a second glance shows that all of the work’s
center on the process of building an individual or collective identity. Among
the major serial works I've produced over the past few years are
"Threshold" (hand-drawn and digital images of domestic/architectural
spaces; "Plans for Dwelling Places" (different examples of
residential and institutional architecture); "Polania/Witch" (a
series of machine-sewn images on school exercise-books), and others. I tend to
think about identity as a culturally-driven consumer product, in other words,
consumerism that forms identity and the opposite. As such, my works borrow from
the cultural traits that influence a consciousness needed to establish
identity. These traits find expression in a number of key cultural fields such
as architecture (space and body), language and slang, definition and exclusion,
and so forth. They all correlate with my personal-autobiographical space, which
consists of queries related to existence, such as physical survival as opposed
to emotional survival: memories, humor, collective and personal history. A
common denominator includes the use of power mechanisms by designers/planners
and disciplinarians to influence individuals. There is a
fundamental significance to the use of a variety of materials in the works,
since the medium, from my point of view, usually acts as a "dynamic
metaphor." The medium itself influences content and is an element that
plays a role in formulating the idea. Inherent in the conceptual and visual
foundation of the work is the photograph and the drawing/digital process. Thus,
one can see, for example, the architectural sketches which act as the juncture
between the architect/planner and the client/future occupant. The sketches are
a graphic symbol representing a translation of the needs of the client and the
abstract intentions of the architect to reach the desired design and the
materials needed to complete the project. This element serves the work in the
sense that the drawings are based only on the promise of a real structure for a
home, but the finished product usually falls short as an expression of the
remnants of thought. The same
incomplete or opaque images appear when using machine needlework on
exercise-books. Thus, a physical and conceptual linear approach exists between
the act of sketching and that of sewing. This approach is used not only to
suggest an object or an image but also exists as a "blueprint of an
action" thereby providing evidence of an inherent process. The evidence
points to an incursion on the plan/image or its purpose through human
intervention (on my part), which is usually aggressive and chaotic, in spite of
its subdued appearance.
Selected Group Exhibitions 2018 "Shopping",
Haifa Museum of Art 2018 “With
the passage of time", Rehovot Municipal Gallery 2018 "Present
time", Sara Erman Gallery, Tel Aviv
Payment Methods: Shipping&Handling: All items are sent through registered mail or by E.M.S. Fast delivery service (up to 4-5 business days), depends on the weight and measures of the purchased item. You may add insurance for the item with an additional fee. Please e-mail us for other shipping methods.
In case that the frame includes a glass, the item will be shipped without the glass in order to prevent any damage to the artwork caused by broken glass: be aware that such kind of a damage is not covered by the insurance!
Terms of Auction: All sales are final, please only bid if you intend to pay. Refunds will be accepted only if the item is not as described in the auction. ISRAELI BUYERS MUST ADD 17% V.A.T. TO THE FINAL PRICE.
|
