| |
|
|
| |
|
|
WANDERLUST, 2006
Installation view.
Acrylic, oil and resin on wood, variable sizes
|
|
| |
WANDERLUST, 2006
Painting installation
“Deborah Wasserman’s work has both mystical and comic elements of pathmaking and path-finding. Transience and flux, suggests Wasserman, are the permanent markers in one’s life journey. The artist’s vision is sensitive to the conditions of liminality, the inbetweeness of spaces, both spiritual and material” . Dominique Nahas, curator.
Born in Brasil and raised in Israel, Deborah Wasserman humorously refers to herself as a postmodern ‘Wandering Jew’. In Wanderlust, she expresses the mental experience of exile and explores the tangent between longing and be - longing. She explains, “The relationship between a journey and its destination fascinates me because I see them as one and the same.“
From press release of the exhibition Wanderlust, at the AIR Gallery, NYC 2006.
|
| |
PASSAGES, 2004 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Installation View |
| |
|
|
 |
|
 |
|
|
|
 |
|
|
|
|
|
 |
|
 |
|
 |
|
|
| |
|
|
 |
|
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
WANDERLUST, 2006
Detailed installation view -
Acrylic, oil and resin on wood, variable sizes |
|
|
| |
|
|
| |
|
|
| |
|
|
PASSAGES, 2004
Acrylic, Oil paint and resin on wood, 20" x 3"
|
|
| |
PASSAGES, 2004
Painting installation
"The installation Passages consists of a series of images which alternate between the image of planes arriving and departing from an anonymous airport locale and an alternating latticework of maps. The paintings are made in the form of long, horizon-like canvases, which both evoke the movement of planes, heavy with the many lives they contain for short yet important durations of time, and are also deft expressions of the elastic narratives which such durations represent, as these utilitarian objects speed back and forth from left to right, forward and backward in time. They are contrasted with the maps, which though they give names and specific distances to the many points on a compass between one horizon and the next. They lend no greater order to our perception of the planes, but only add a complex layer to the delayed meaning we can bring to our experience of her work. Wasserman seeks to trace the relationship between destiny and destination and finds the state of longing (to belong)a singular place to be."
From press release of (B) longing David Gibson, curator and critic, NYC 2004.
|
| |
PASSAGES, 2004 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Installation View |
| |
|
|
 |
|
 |
|
|
|
 |
|
|
|
|
|
 |
|
 |
|
 |
|
 |
| |
|
|
 |
|
 |
|
|
|
 |
|
 |
|
PASSAGES, 2004
Acrylic, Oil paint and resin on wood, 20" x 3" each |
|
PASSAGES, 2004
Detail from installation: Acrylic, Oil paint and resin on wood, 20" x 3" each, 60 panels total |
| |
| |
|
|
| |
|
|
| |
|
|
/thumnails/thum2_ulistallation-view.jpg) |
(Un)Still life 2003
multi-media Installation
The installation (Un)Still Life is based on the Frida Kahlo painting Viva La Vida (Long Lives Life!) This painting shows a lush display of fruits and vegetables, with stuffed animals and a bride-doll. It symbolizes cycles in our lives (growth, ripening and decay) which are formed by constant change. Inspired by this painting Deborah recreated the same tableau with real objects, then filmed and animated it on video. In (Un)Still Life the fruits and vegetables shed parts of themselves as they are cut and transformed. To further examine the relationships between the still and the moving images, Deborah created 104 small panels based on each animated transition. The complete installation includes the paintings and the video.
|
|
(UN)STILL LIFE, 2003
Installation detail: Oil on wood, 104 panels, 2.5” x 2.5” each
|
|
|
|
/thumnails/(un)Sill%20Life%20six.jpg) |
|
/thumnails/UL-installation-.jpg) |
|
/thumnails/(Un)%20still%20life%20detail%204.jpg)
|
|
/thumnails/(Un)Still%20life%20-web%20site-p.jpg) |
|
/thumnails/ul--7.jpg) |
|
from left to right: (UN)STILL LIFE, 2003, Still from video, Installation details |
|
|
| |
|
|
| |
|
|
| |
|
|
 |
THINGS, 2002
multi-media Installation
"We continue to make stories, and to use stories, because we need them to define ourselves, to serve as lenses through which we understand, conceive and create our lives. Without them, we would simply disappear."
Exerpt from video dialogue.
|
|
THINGS(CAME) (AND WILL) DISAPPEAR, 2002
Still from video, 6:35 min
|
|
|
|
 |
|
 |
|
|
|
 |
|
 |
 |
From left to right: THINGS(CAME) (AND WILL) DISAPPEAR, 2002 Installation details: Oil on wood, five (out of ten) panels, 20" x 25" each; EASY DIRECTIONS, 2003 Oil on wood, 34"x 66"; INSTALLATION VIEW: Four (out of ten) panels, 20" x 25" each, one panel 34" x 66" artificial grass, video monitor, audio piece |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
|
|
| |
|
|
|
|
| |
UNTITLED, detail, 2003
Acrylic and oil on wood, five panels, 38"x 7" each
|
|
|
UNTITLED, 2003,
Installation view: Acrylic and oil on wood, five panels, 38"x 7" each
|
|
UNTITLED, detail, 2003
Acrylic and oil on wood, five panels, 38"x 7" each
|
|
UNTITLED, 2003,
Installation view: Acrylic and oil on wood, five panels, 38"x 7" each
|
|
|
|
| |
| |
|
|
| |
|
|
| |
|
|
| |
TERRITORIES, 2003
Installation view: Acrylic and Oil on wood, 10 panels, 6” x”6 each panel, table |
|
|
TERRITORIES, 2003 |
|
|
|
|
| |
|
|
|
|
|
| |
TERRITORIES, 2003
Detail: Acrylic and Oil on wood, 10 panels, 6” x”6 each panel, table |
|
|
TERRITORIES, 2003
Detail: Acrylic and Oil on wood, 10 panels, 6” x”6 each panel, table |
|
|
TERRITORIES, 2003
Installation view: Acrylic and Oil on wood, 10 panels, 6” x”6 each panel, table |
|
|
|
| |
|
|
| |
|
|
| |
|
| |
sights/thm/thum2_looking%20detail.jpg)
(IN)SIGHTS, detail, 2003. Oil on wood, |
|
|
(IN)SIGHTS, 2003 |
| |
|
sights/thm/thum_looking2.jpg) |
| |
|
(IN)SIGHTS, 2003 Installation view: Oil on wood, 8 panels, 6"x 6" each, shelf |
|
|
| |
|
|
/thumnails/(Un)%20still%20life%20video.jpg)
