Wild Angels-Catalog-small-with-cover

W i l d A n g e l s The fragility of those winged figures, or of the creatures that evolve into angels, springs, among other things, from what I think is a Kabbalistic idea (which I am probably quoting out of context): An angel is a short-lived being, which is created, sings songs of praise, and perishes. This image evokes singularity and transience; a flash; a perception of beauty and destruction on the threshold of existence. This split-second interests me. It could be that I am also subconsciously influenced by the traditional dichotomy between the Apollonian and the Dionysian, 2 which also exists in Judaism, as practiced by my family. The body stands separate from the spirit, or rather, the spirit is cultivated at the expense of the body. As for the grotesque, it probably exists, to some extent, in the very hybrid combination between human and animal. I think it may seem strange, or even ridiculous, but it is also threatening, as if bordering on an unknown experience. What is the limit of an instinct, or of passion? Once again, this is associated with the separation (which may be irrelevant) of the mind from the body, and of perceiving passion as having a destructive potential. 2 The terms “Apollonian” and “Dionysian” were coined by Nietzsche to describe two human instincts: The Apollonian instinct, named after Apollo, god of sun and light, stands for the human aspiration for rationality, balance and clarity. The Dionysian instinct, named after Dionysus, the god of wine, stands for the tendency to cross the line, be irrational, and uninhibited. Galili Shahar wrote in The Remainder of Revelation : “Whatever has been defeated, forgotten, suppressed and ousted from history books still awaits revelation, hence – repair. Redemption therefore requires repairing the past.” 3 It would appear that the angels seen in your works wish to recall forgotten and suppressed matters – customs, events, ceremonies. Could your objective be “redemption” (as per Galili Shahar) or is it only a spotlight momentarily illuminating the memory before it fades and disappears? Galili Shahar’s text is beautiful. I discovered The Remainder of Revelation when I was nearing the end of my work on these paintings. I deeply identify with the quote you have chosen. Indeed, the works attempt to touch on the remains of culture, on figures of the past, and on a hopeless longing, giving voice to those who are no longer with us. They engage with the delusions of an elusive memory, while also looking to the future, and they sense that this or that variation of all of this exists even now. Still, “redemption” is a big word that I do not dare use. Instead, I prefer “solace.” I find solace in simply engaging with, and touching on those matters, and hope others will find it as well. 3 The Remainder of Revelation – Law, body and the Question of Literature , Jerusalem, Mossad Bialik, 2010, p. 125.