Makom-Al-Makom_catalog-new

E11 violent cutting involved in penetrating the earth and the primeval, soft and sensual heap of material dug out of it.' The heap and the hole that Ullman sometimes visualizes as a womb [...] and pulling out the earth from its place, create a 'tension of disconnection,' and a longing of the material to return to its place." 6 Sharabani's projections on sand tables parallel Ullman's "pits." Sharabani awards the virtual shapes an existence of their own. Instead of using real matter, he uses "non-matter." Projection is not material. Much like air, it does not occupy space, and has no mass or material presence.The non-material is a state. Be it physical, metaphysical, spatial or geographic, it is a metaphor for an existential, social, political, historical, and cultural situation. Place/Non-Place In one of his interviews, Ullman said, "If we take the word 'place,' we will discover that in Hebrew it is actually infinite. It encompasses the most concrete matter and the most abstract spirit." Sharabani, too, explores the broadest and deepest meanings of the concept of "place." His exploration includes the material and the spiritual, and refers to the most basic and deeply emotional concept of home. His works bring to the surface a series of tangible and geographic connections that are allegorically tied to a deep, primeval, existential kernel of association between blood, man, and earth. 6 Drorit Gur Arieh, curator of the Petah Tikva Art Museum, in an article written for the exhibition cluster Bibliology: The Book as Body , November 2015 – March 2016.