Fabricated Landscape
Artist's Gallery of Ramat Aviv Mall, solo exhibition
Curator: Ayelet Amorai Biran
In the exhibition Fabricated Landscape, Galya Rosenfeld gives expression to landscapes from her life alongside landscapes that friends post on Instagram. Through the images of others, she tries to verify the form and recreate the structure of landscapes from her memories. The expressions of the landscape are not loyal to a photograph or a distinct reality but to feelings, experiences, emotions, and memories related to a place or to an amalgam of places that unite into one work. In some of the works, the distance from the memory or the borrowed experience is expressed by careful color selection followed by establishing rules that create the landscape's structure, which is not entirely predictable in advance.
As she is influenced by the landscape photos of other people online, Rosenfeld confronts questions such as: what is real or authentic, what belongs to us all and what is private, how her memory works, and what is a first-person experience versus a second-person experience ... in the age of social networks.
These works, made of units of fabric interwoven together without sewing or gluing, continue the modular series that Rosenfeld has been exploring since 1999. In this exhibition, for the first time, Rosenfeld presents wall pieces with a double-layered structure that gives them increased presence. She introduces a new connection technique in strips that enables the continued play and study of color.
Fabricated Landscape
Artist's Gallery of Ramat Aviv Mall, solo exhibition
Curator: Ayelet Amorai Biran
In the exhibition Fabricated Landscape, Galya Rosenfeld gives expression to landscapes from her life alongside landscapes that friends post on Instagram. Through the images of others, she tries to verify the form and recreate the structure of landscapes from her memories. The expressions of the landscape are not loyal to a photograph or a distinct reality but to feelings, experiences, emotions, and memories related to a place or to an amalgam of places that unite into one work. In some of the works, the distance from the memory or the borrowed experience is expressed by careful color selection followed by establishing rules that create the landscape's structure, which is not entirely predictable in advance.
As she is influenced by the landscape photos of other people online, Rosenfeld confronts questions such as: what is real or authentic, what belongs to us all and what is private, how her memory works, and what is a first-person experience versus a second-person experience ... in the age of social networks.
These works, made of units of fabric interwoven together without sewing or gluing, continue the modular series that Rosenfeld has been exploring since 1999. In this exhibition, for the first time, Rosenfeld presents wall pieces with a double-layered structure that gives them increased presence. She introduces a new connection technique in strips that enables the continued play and study of color.