Nava Waxman as Shape Shifter


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Nava Waxman gracefully dances the fine interstitial line between becoming and being. She captures the manifestation of painting as a performance of the human spirit made manifest in paint.

Jan Kirstein

 

Written by Nikos Kount Littérateur

Untitled Wall is Nava Waxman’s interdisciplinary work, featuring a series of studio performances, from her extensive archive material spanning over the past three years to the more recent pieces.
It is an organic and visceral practice, as she is dealing with the concepts of metaphors and allegories which construct her performances and her ongoing research on how to portray situations that are comprised of various elements such as painting, objects, space and her body gestures.

 

 

 

Click on thumbnails to enlarge

 

Her work does not acquiesce in an obvious self- representation and beyond her perspective as the creator with the physical presence in the process, she does not consider her oeuvre as completely autobiographical.
Waxman’s aesthetics are referential and by the use of classic art media in combination with New ones, she transform her ideas into a ritualistic Theatre. She conserves in her editing process a continuation of things past gone and of things yet to come. The essence of these junctions and additions influences how each of her artistic materials and techniques relates to each other. Thinking within the framework of object-making, her dilemma and principal focus is how to form an Image both expressively and critically charged while engaging with concepts around experience and representation.

 

 

Nava Waxman addresses and questions the traditional method of painting and whilst she deconstructs it, at the same time raises the task of painting to a coalescence of references; from the research and study of Art History to the factual and mythological and other fields such as Literature and Music.
The core of her practice and performances resides in the task of painting on her studio wall. The Wall has been painted over and over again with ephemeral paintings that resonate with the fluid time and space. Traces of paint, lines and faded images are there so as to be merged into something new. Her methods of painting transform the Wall into a Live Ephemeral Palimpsest that constantly changes. The narration of this exhibition is multileveled and concentric.

 

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The context of examining the relationship between performance and visual art lies in the origin of the vast documentations material, since from the very beginning she used photography in order to capture the creation of the artwork as an Art as well. It is a celebratory continuous discovery and illumination of the action after its genesis. The combination of Technics and Time or as Roland Barthes wrote: A sort of umbilical cord links the body of the photographed thing to my gaze: “light though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed.”
The transitory nature and duration of the imagery coincides with her evolution as a painter. She is aware of the fact that the produced work will only last for a limited period of time. Capturing the random, the magical, the thoughts and the feelings made this wholeness tangible. In a way it is a struggle; Painting versus Painted.
These works assemble and at the same time epitomize this ever changing act of looking and most importantly her Solitary monologues, which have only ever taken place in the privacy and isolation of her studio. This exhibition marks the public nature and premiere of these series.

 

 

According to Nava, Life is an accumulative formation and this resonates with her painted wall or the covered up paintings. The Untitled Wall stands as a monument of Now, where time, space and feelings are interconnected and the way we perceive the momentum or the future is eminently affixed to our retention of the past.
The photographic sequences are offering an access to the artist’s inspirations and how they are transformed into a perpetual reminiscence of the collective memory. The associations and the situations established through her performances allow an open and unconditional platform for the beholder to experience.

 

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“In this modern era when everything has existed in the past, images are disposable and the meanings misinterpreted, Nava Waxman’s endeavor is to question these circumstances and reconstruct the [ definition of ] Vision.”

Written by Nikos Kount Littérateur

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Nava Waxman is a Toronto-based artist whose work ranges from drawing, painting, and objects to performance and photography.
Born in Israel (1974), she studied painting and drawing at the Toronto School Of Art and received her BA in social science and communications from Open University in Tel-Aviv.
Nava has exhibited in national and international shows and her work has been featured in numerous publications and is held in public and private collections.
She has been the recipient of the Canada Council of the art Travel grant as well as the Exhibition Assistance Grant from the Ontario Art Council. She lives and works in Toronto.

 

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