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ORIT HOFSHI – Crossing

Orit Hofshi’s center of interest is human existence, examined in the context of past and present and calling into question the place and importance of a person in the world as part of both a socio-political organization and the universe. Crossing, her current exhibit, continues her examination of the chronology, being and visible traces of existence. The artist has been attracted by human development in that environment, the existence of communities within a wider community and its political meaning, addressing this in a brief but yet subjective perception of individual existence in the context of turbulent social events.

Her monumental Crossing and Chronicle, suspended opposite each other, show an ancient neo-Romantic landscape.  It hangs at an elevated location at the far end of the exhibition, filling a narrow wooden platform and the central walkway.

Her works intertwine natural and destructive forces, “sublimely” colliding with natural and human catastrophes. Realism intersects here with expressionism, creating a country more frightening and disturbing than idyllic. This is how the artist herself describes it: “I am trying to show humanity how it would be enriched by people observing themselves in a broader context, namely in relation to their immediate surroundings and the overall environment. It requires a great deal of modesty and humility for someone to fully understand the position, place and role in light of particular relationships with others and with the world around us.”

In her work, Hofshi maintains a permanent dialogue between her figures and the environment where they are located. The figures act together and yet as if torn from the surrounding landscape. How they are arranged reflects a sense of anticipation, a feeling emphasized by a kind of aimless presence, which adds to the expressiveness and the dimensions themselves. These figures are placed in a landscape with no signs of human activity, clearly with no recognizable characteristics. They act as if a large part of the journey has already been completed, but their goals and raison d’être still remain unclear. The scene absorbs anyone looking at it, encouraging their own personal interpretations. The work itself consists of paper, carved wood panels and woodcuts used in printing, exposed here as full-fledged works of art.

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