In this exhibition, Tamar Dubrovsky presents works in two and three dimensions.
Many changes have taken place in Dubrovsky's works over the last years. From rich and luxuriant, colorful abstractions, her paintings turned into scant monochromatic works reduced in color and shape, made on paper, and installations.
Gradually, paintings on canvas and paper became an obsessive toil with paper. This material, which in the past served only as a basis, turned into a full-fledged partner, into which the artist engraves, digs and burrows deeply with a knife, soaking and subtracting, as if challenging the material's limits of endurance. She builds three-dimensional paper units, which will (proceed to?) serve as bricks to put up installations.
The paper takes part in the creative process, causing Dubrovsky to be actively involved. In addition to this process, the artist is involved in conceptual activity, which is expressed by a political-social-psychological-philosophical statement.
In the Hanging installation, the work is built out of thousands of pieces made of "insignificant" silk paper and construction glue, at the given space. The installation creates new boundaries and relationships in that space. It creates a new physical reality with imaginative options.
The linear pieces obsessively prepared by the artist in the studio were joined with plastic ties, resulting in a gigantic structure.
The space turns into an enormous suspended entanglement, causing the public to wonder: Is this DNA? Are these electric pulses? Space communication? Interlaced Spider webs? Virtual, or actual connections? Are these individuals interrelated in some system? An existentialist situation? A political statement?
A giant web exuding presence, an infinite tangle of grid connections.
It's amazing how thin, weak, "insignificant" paper gathers the energy conveyed into it by the artist, creating a feeling of power, strength and infinity.
The gigantic, massive and amorphous object is open and closed, active and static, chaotic and organized, enticing the imagination and triggering in the viewers associations and images ranging from concealed, personal and intimate worlds, to realms of space, astronomy, science and human existence.
Black Hole is a part of the exhibition where works from a new series, made on particularly thick paper (600 gr.), are presented. Lines - crisscrossed, active and turbulent, almost aggressive - were engraved with a knife. The only colors used are black and red. This is a primeval creation, in which chaos and order merge together with the active movement of the hand.
Risking paper damage adds a dimension of stress. Elements within the paper are revealed and cooperate in creating a new balance between color, texture, turbulent movement and crisscrossed lines.
In Drawing, another installation shown in this exhibition, Tamar Dubrovsky creates works that are small but monumental, with a thin metal (almost insignificant) wire. The drawing proposals, the shadows they cast, the uniform rhythm, continuity, harmony and the equal distances between them, subtly repeat the turbulent movement, the crisscrossing, and the capture of space by means of borders.
The realistic-physical drawing and the visual image of the shadow maintain a dialogue. The distances between the three-dimensional drawings create constant, infinite movement.
Translated from Hebrew by Irene Auerbach