Gallery Har-El, Jaffa, Israel

This exhibition was my response to “A Hymn to Green,” a poem written in 2012 by Israeli poet laureate Nathan Zach. In his poem, Zach both celebrated and lamented human nature. Harvesting the metaphors of legacy, Zach reflected on the experience of ripening or maturing and reminisced about his youth.


This poem was at the forefront of my mind during the recent period in which the whole world was paralyzed by the outbreak of the coronavirus. The pandemic demanded colossal statements regarding our conduct upon the earth and deep in the ocean, leaving us to ask what it really significant and what we must now do in order to create a change.

For me as an artist, it was important to explore and make art in response to the notion that time has stopped because of this plague. In my work I often take on the role of a prophet of the apocalypse. Now faced with an apocalypse scented with hand sanitizer, I looked back at a past that seemed to shrink with embarrassment and an uncertain future that is unlikely to turn out as we imagined it.


In the installation at Har-El, viewers encounter a sequence of manipulated found objects. They also come into contact with site-specific sculptures, such as a weather vane made of recycled street signs and stirring disorientation in the urban wasteland; a grid of Judean desert livestock excrement; Mediterranean dates and figs; barbed wires and cherries.


In Zach’s poem, mankind’s mental and physical existence is one with flowers, trees and roots. Plants and fruit, even after the crisis sparked by the coronavirus shall pass, will continue to be our building blocks for urban and human nature. The exhibition represents a post-apocalyptic dance. It is what I felt was needed to be done. What else have we to lose?

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