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Artist talk between Rotem Reshef and art critic Shana Nys Dambrot

September 5th 2017 - January 1st 2018

Tall Wall Space, University of La Verne, California, USA

Shana Nys Dambrot is an art critic, curator and essayist based in Downtown Los Angeles. She is currently LA Editor for Whitehot Magazine, Contributing Editor to Art Ltd., and a contributor to KCET's Artbound, Flaunt, Huffington Post, The Creators Project, Fabrik, VS. Magazine, Palm Springs Life, and Porter & Sail.

Dambrot held an artist talk with Rotem Reshef in her solo exhibition, “Time Traveler”, following a review article Dambrot had written about the installation in the Huffington Post.

Click here to read Nys Dambrot’s article

Shana Nys Dambort & Rotem Reshef

In a world that is flooded with images and with paintings, I am interested in creating a process and time-based painting experience, that cannot be fully translated via digital media, the opposite of an “Instagram” image.

In 2010 I began working on large-scroll paintings, and since 2016 I started exploring the form of painting installation, in which unstretched scrolls of paintings create a three-dimensional, overlapping experience for the viewing audience. The painting-installations are made by rolled scrolls that are not fully open while exhibited, and that adopt specifically to the space where they are shown, encapsulating endless possibilities of scale and width. Instead of standing in front of a painting, the visitors step into one. The scrolls can hang from ceiling to floor, surrounding the gallery, leading the viewers into a unique visual world that presents the challenging painting process and reveals its complexity and beauty.

My artistic installations address time as a fluid, inconceivable notion, and as embodying the potential for representation in an abstract image. They ask viewers not to be satisfied with a fleeting glance, but rather to slow down, linger, examine the work, walk alongside it, move closer and back away, lift their heads and fully experience the encounter with an unexpectedly situated, unusually large work of art.

In the studio I am using common, unpoetic materials as plastic sheets and bubble wraps, that are often used to coat and protect art objects. I cover the wet surface of the canvas with them, while they “suffocate” the richness of the colors, and imprint their own textures. Once peeled off, they create a “ghostly appearance”, a silent witness to a procedure that was left “out of the picture”.

This method of painting centers on the idea of “control and release”, in which I balance between my role as the creator, and as a collaborator with the painting materials. While an ongoing process of change stems, the composition is set free, and I let the painting lead the way and almost “create itself”.

Rotem Reshef
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