Lanua’ 2019
Lanua’ (to move) is an attempt to create a 2D language through the use of a 3D technique. I use pottery, a craft whose purpose is to create domestic ware. I distance it from functionality and try to transform it into conceptual art. I try to capture the essence of movement, to express minimalism through craft. The manual manipulation adds a new layer to the work and the serial methodology receives a one-off face. The origin shape is a circle, which is the result of the basic action of lifting the clay. Also, because it contains both 2 and 3D, depending on the point of view. Finally, the fact that it’s capable of movement, even after firing. This is contrary to the rules of the ceramic which is supposed to convey stability. I am interested in the tension created, in the instability and the desire for balance, the moving body, despite the fear of breaking. I seek to capture a moment, to preserve a memory of an action, to change the point of view and to allow the body to continue moving.
Lanua’ 2019
Lanua’ (to move) is an attempt to create a 2D language through the use of a 3D technique. I use pottery, a craft whose purpose is to create domestic ware. I distance it from functionality and try to transform it into conceptual art. I try to capture the essence of movement, to express minimalism through craft. The manual manipulation adds a new layer to the work and the serial methodology receives a one-off face. The origin shape is a circle, which is the result of the basic action of lifting the clay. Also, because it contains both 2 and 3D, depending on the point of view. Finally, the fact that it’s capable of movement, even after firing. This is contrary to the rules of the ceramic which is supposed to convey stability. I am interested in the tension created, in the instability and the desire for balance, the moving body, despite the fear of breaking. I seek to capture a moment, to preserve a memory of an action, to change the point of view and to allow the body to continue moving.
Lanua’ 2019
Lanua’ (to move) is an attempt to create a 2D language through the use of a 3D technique. I use pottery, a craft whose purpose is to create domestic ware. I distance it from functionality and try to transform it into conceptual art. I try to capture the essence of movement, to express minimalism through craft. The manual manipulation adds a new layer to the work and the serial methodology receives a one-off face. The origin shape is a circle, which is the result of the basic action of lifting the clay. Also, because it contains both 2 and 3D, depending on the point of view. Finally, the fact that it’s capable of movement, even after firing. This is contrary to the rules of the ceramic which is supposed to convey stability. I am interested in the tension created, in the instability and the desire for balance, the moving body, despite the fear of breaking. I seek to capture a moment, to preserve a memory of an action, to change the point of view and to allow the body to continue moving.
Note: The text above was written by the Artist. No modification was made by COCA.
Yael Livneh
Israel
Education
2008-17 BFA, Bezalel Academy, Ceramic department, Jerusalem
2015 Exchange student, Gerrit Rietveld Academy, Amsterdam
Selected Exhibitions
2020 Group exhibition (future). The Edmond de Rothschild Center, Tel Aviv
The Biennial of Craft and Design (future). The Eretz Israel Museum, Tel Aviv
2019 The 14th International Biennial of Ceramics. Manises ceramics museum, Valencia
Cluster Craft. Ugly Duck, London
Gala night. Tollman’s, Hertsliya
2018 Disruption. Vitrina gallery, Holon
2017 Inside out. B.Y 5 gallery, Tel- Aviv
Glimpse. Binyamini center, Tel-Aviv
The Space as Possible, Rehabilitation center for IDF disabled, Jaffa
Pottery Jam. Group performance, Binyamini center, Tel-Aviv
2016 Non Contagious Exhibition. Hansen design center, Jerusalem
This Is Not Europe. Incubator Gallery, Jerusalem
2015 Future Archeology. Binyamini ceramic center, Tel-Aviv
2014 Vase. “Siman Sheela” gallery, Kibbutz Amir