Marciano Art

Dan Reisner – Artist , sculptor & Explorer
My name is Dan Reisner; I am an artist – sculptor and explorer.
Since childhood I remember myself fulfilling this equation. I remember myself discovering each morning, anew, the way from my parents' house to school, examining the trees by the road, finding rocks and collecting all sorts of objects and materials. After school hours and while playing, the nearby surrounding – the creek and the grove – had turned from a well-known location into an environment in which materials and ideas are being rediscovered, decomposing and recomposing all the time. The exposure to materials, to the possibilities of combining between them and building them as a new world, had been the basis to my future creation. The materials, their attributes, their history and their cultural association – all these are often the motive of my creation. In my work, it is important to me that the audience should experience a personal experience of discovery and excitement coming from an inner connection. I want them to experience a cultural emotional and sensual experience that would change their perspective on art and life.
In my years of study I had put myself, through my work, in the role of actor, creator, craftsman, inventor, one who can provide the ultimate work, a man of deeds, the action of the self – which expresses itself through a wide variety of materials and crafts. A good example is the statue "Fool of the Seas", which presents a figure with a wooden leg that is made according to 18th century medical books. A barrel, which I had built after a short training with a cooper, is connected to the leg. The figure has a plaster of Paris body, which resembles a Greek statue. Out of the statue comes a spinal cord, which reminds one of the neck of a musical instrument, on it there is a shell made of polyester connected to copper pipes. On the other edges of the pipes there are side view mirrors of a car. The mirrors remind one of the mythological figures – Medusa. The work has many historical and cultural references, among them stories of voyages across the ocean that are filled with terror and lack of knowledge. I was interested in the gap between order and terror, between the external and the internal, conscious and unconscious. In my work you'll always find a dialogue between past and present, between an inner experience and the surroundings in which it takes place.
In the first few years after my BA studies, I concentrated on the subjects of the human body. I was fascinated by the gap between concepts such as beauty, wholeness, aesthetics and natural performance abilities versus the fragility of the body and its weaknesses. I wanted to examine the body in its lacking – lacking in the meaning of being crippled as a result of amputation, bisection. This act of severance inhibits the body of its senses of ideal and wholeness, but at the same time the striving towards completing the object and towards perfection does not cease. I was drawn to work in carving tree logs. The wood is an organic material, it hubs its own growth, one layer envelopes the former, from its being a young plant all the way to its cutting as a thick tree and being turned into the material – wood. Through the work process, the wood always remembers its origin as a tree. Even today, years later, the wood in my works keeps changing.
It was essential for me to connect to the beauty ideal from its cultural sources through a traditional work of woodcarving and to confront it with the contemporary. The gap is between the culture and cultural ideas as opposed to the actual body, the flesh, the vulnerability and the void. I wanted the audience to be fascinated by the beauty and the achievements of the work and then have them experience the calamity and loss. As an Israeli, I experience it in a most harsh way.
As aforesaid, in my work there is an ever-present dialogue between past and present, between an inner experience and the surroundings where it takes place. In 1988 I was invited to display an exhibition in "Artist Studios" in Tel-Aviv. I chose to create works that would be produced in accordance with the location, and function in relation to the surroundings. I worked with cement. Cement suited me, for it is a present and concrete material, with brutal characteristics, factual and external. I created large works, cast into molds, works that form a very present environment; the sensual touch is crude, soft and industrial. The constructive works formed a dialogue with the architectural surrounding, with the massive concrete way of building that the Israeli eye had long been accustomed to and turned it into a local classic. But also in these works, I had combined other materials that shake one's conception: a thin, fragile tree log in a bound aspect between two concrete cubes; a huge Eucalyptus log, packed with years of memories, which I had found in Hadera and placed parallel to a smooth, soft form made of concrete. The use of concrete sewage connectors gives a hint of inner substances and their outlet. In these works I also examined man and his magnitude against something that is monumental. It was possible to walk into the concrete sewerage, to touch the different materials and to feel the power as opposed to the frailty of the artist and viewer.
Later, in the concrete works, I combined green vegetation growing out of molded concrete containers. The concrete works deal with stereotypes of urban space, in the containers which function as intermediation and acceptance.
Correspondingly, I created environmental sculptures in public areas: Ra'anana Park, schools and private institutes. In the non-gallery space the intermediation is canceled and the emphasis is put on the presence of the object. Also, a dynamic relation is formed between the viewer and the object and most of all; the statue becomes a part of the viewer's living space.
In the last two years I have been working on a sculptural installation, formed by a large number of self-portrait figures. The figures are processed in different ways and are bronze cast .

Erella Gurion –Sculptor

Erella Gurion had been creating fine art for the last 20 years. She obtained her training in the arts from various institutions including Wizo College and the University of Haifa, she also participated in a range of private courses, as well seminars in Ein-Hod (artist's village).

Erella Gurion was born in Lebanon in 1938.She immigrated to Israel in 1944 and spent her childhood in Kibbutz Geva. Today she lives and creates in Denya, a neighborhood a top Haifa's hill.
Erella graduated from the University of Haifa in 1978 earning a degree in social science and mathematics.

A key source of inspiration for Erella has been Lelya Zuef a renowned national artist of Romania, who has served both as a mentor and a friend.

The following artist number among Erella's additional teachers.
Mrs Lelya David, an international acclaimed artist who has been endowed with various awards.
Natis Solomon, a sculptor, teacher from Wizo college,
Tamar Dobrosvsky, Francine Lasrie, Oli Grouws and others.

Erella sculpts in stone, clay, bronze and has recently been captivated by using aluminum in her art. Her works are mostly figurative, but include realistic and abstract pieces.

Erella's paintings vary in their themes (scenic and man) and exhibit soft colors. Erella is a member of the Artist and Sculptors association of Israel and participated in individuals and group exhibitions. A number of international exhibitions have been presented as part of the National culture Union (I.C.U).
In addition, she has been chosen to participate in various international exhibitions with artist from all over the world that were chosen by I.C.U. She has also been invited to take part in the "Famina" exhibitions that signifies International Woman's Day as well as The Holiday of Holidays" that unites all three cultures that prevail in Haifa.

Since 2003 Erella began to export her work abroad and some of her works are already decorating few homes in France and USA.

Exhibitions :
1983 – Katz House Kiryat Bialik
1984 ,1997 & 2005 - Chagall Artists House, Haifa
Nagler House – Kiryat Haim. 1985 & 2003
1986 – Abba Houshi Center – Haifa
1987 – Hod Hacarmel Cultural Center ,Denya, Haifa
1990 to 2000 Sarah Kishon Gallery , Tel-Aviv
- David Gallery - Dan Panorama Hotel – Haifa1990
1991 – Naharya Museum
1991 – Daniel Hotel – Hertzlya
1994 & 1997 Artists House – Ein Hod
Haifa's Auditorium. 1997 –
1998 -The Artists house (Beer-Sheva)
- French Cultural Centre (Haifa) 2000
2000- French Cultural Center (Nazareth) "Femina 2000"
2000 - Castra – Haifa
Knights Castles (Old Akko) - 2001
- International Festival in Segev.2001
- Akko's theatre.2001
- Gerard Bachar Center, Jerusalem 2002
2003 –Kelsey's Collection - Fine Art Gallery - Naples FL– U.S.A
2003 – Tel-Aviv University.
2005 – Castel Museum of Lubliana – Slovenia
2006 -The House of Bible (Tel Aviv)
2006 – Brasov Art Museum – Romania
2005-2008- Citadel Hotel – Jerusalem
2007 - Haifa Theater
2007 - Shva Gallery
2007- Haifa's City Hall

Atalia Shachar
Painter and Installation artist, instructor for painting at "Beit Ha'omanim" (Artist House) in Tel Aviv.


Motto/Quote:
"My art is a reaction to elements and events that impact me as an individual and as an artist within Israeli society'. I Deal with the meaning of beauty and chaos and deliver a critical perspective with the use of artistic language"

About
Atalia Shachar is an Israeli that connects elements of past and present in her art, as a reaction to socio-political conditions in the Middle East.
She studied at the Academy of Art in Ramat Ha’sharon from 1990-93, and at the Academy of Music in Tel Aviv from 1980-83.
Shachar incorporates various elements that are representative of Israel‘s landscape, community
, and way of living, she has created series of paintings; and related to Israeli herbs and spices in her displays, Atalia participated in exhibits that center around the socio-political situation in Israel as well subjects that deals with the mining of beauty.





ATALIA SHACHAR

Selected Exhibitions

2009
Solo exhibit. Artist's house tel Aviv "movimento"
bilbao gallery; Grope ex. izabel , Germany Berlin

"Midnight" salon 22 gallery; Tel Aviv
" Self examination" herzelia
2008 " Second generation" Artist House' Tel Aviv

2007- “Desert generation”- ‘Artist House’ Jerusalem, Kibbutz Gallery, Amsterdam, Holland.

“Embroidery and Calligraphy in Contemporary Art” Ben Gurion University

2005- “Hole”, Ramat Eliyahu Art Workshop.

2004- “You Don’t Look Hungry to Me”.. Limbos Gallery, Tel Aviv.

“Ochel Kadima Ochel” (Food and More Food), Bat- Yam Museum.

“Edge”, a painting display/installation, Artist House, Tel Aviv
Solo exhibit

2002- “Believe Me the Day Will Come”- Rosenfeld Gallery, Tel Aviv

“Fucked Concrete”, solo exhibit, Limbos Gallery, Tel Aviv

2001- “Living Space”, duo-exhibit, Populous Gallery, Tel Aviv

2000- “Pomegranate Harvest”., Ashdod Museum, City Galery Yavne, City Gallery Kfar-Saba

1999- “Pillar”, display/Installation , House of Labor Party, Givataim.

1998- “Art in Small Format”, Govio, Italy.

1997- “Timing”, display, ‘Artist dwelling’, Herzeliya.

“Oh Mama”-. Museum of Israeli Art Ramat Gan.

“Delicate Texture”- solo exhibit, Artist House, Jerusalem

“Musings of a Vision”- documentary and exhibit, Artist Gallery, Hadera'
U.S.A

1996- “Rotting Time Bitter Sweet”, Limbos Gallery, Tel Aviv
"The city on the mountain" Jerusalem, Austria
“A Different Texture”- Artist Gallery, Um El Fachem.

“Arabesque”- Artist Gallery, Um El Fachem

1995- “Passion cannot be hidden”, solo exhibit, Kidamt Eden Gallery, Tel Aviv.

“It is Recommended to Hug While Watching TV” solo exhibit Third Eye Gallery, Kibbutz Ha’solelim

1994- “Blue”, Artist House, Tel Aviv.



Special Projects:

Participation in exhibit and research for Doctorate degree on the ‘second generation’, sons of Holocaust survivors. Researcher: Dr. Batia Borotin, 2008

“ Concrete”, a 5- meter long painting on the exterior wall of bomb shelter/Gallery " Limbos", 2001














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Asaf LIFSHITZ
Sculptor


The tradition of the artist is part and parcel of his very being. In spite of no formal training in the arts, artistry has been interwoven throughout his life. Asaf's statues grace the yards and gardens of Israel from Metulla in the north to Beer-Sheva in the south. Each statue has its contrasts and tensions within the contrast.

These contrasts are expressed : by the different materials he chooses to work with, (bronze, stainless steel and basalt, an Ignatius rock) and by their combinations, -some in the natural form and others into another format. And by the appearance of motion in the figures. in contrast to the stationary element of the inanimate objects.


The inanimate in the statues

Occasionally a statue will have an un worked object enmeshed within, such as pieces of the "original bridge across the Jordan river", - of major significance; and sometimes the object is one taken from daily life but which has undergone an artist's change, integration and make over, -such as a create of oranges, a wooden chair, a bicycle or even earphones. The use of theses objects is a variation of the artistic conception of a "object trouve" : That is an object that has been found in its natural plane and by putting it into another place the object gets a different meaning.
The figures in the statues

The figures in the statues are active and open the statues towards the landscape and the environment. The figures touch the observer, while they are involved in themselves. There is a palpable inner world about them as they are immersed in the still object that is part of the creation. This creates a complete and closed unit which the observer has become part of, within the figures there is an interaction between reality and fantasy. The figures appears very real but something within each of them disturbs the illusions. The integration with the landscape is created from the action of the figures in combination with the openness and spaces provided by the different proportions of the inanimate objects.

By Ayala Ducas

Asaf was born in Israel.
He is the son of Russian immigrants the first generation born in Israel.