Eran Gilat and Sefi Sendik
“Mortality in Colors” and the Time of Corona
During 2019-2020, myself, Eran Gilat and Sefi Sendik, my colleague artist, found ourselves immersed in a mutual surreal fine art photography study of still life ‘nature morte’ scenes: “Mortality in Colors“, contemplating the ongoing gradual destruction of world dignity and moral. The lack of prominent humble leaders governing the globe strengthened by the viral nature of the World Wide Web (WEB) enabled terrible biasing of democratic procedures. Subconsciously or consciously in part we were expecting universe Armageddon.
Myself, known to state my thinking visually by alarming images, frequently feeling that our visual products may be too harsh and disquieting! being shut down by Sefi, stating: “don’t you see, a colossal disaster is approaching”.
In fact, part was presented in a recent exhibition of us. Strangely enough, the exhibition artists statement written looks as prophesy constructed for the current Corona Plague turmoil (presented here).
Artists Statement, Written in 2019, prior to the Corona turmoil !
Well, What remains after all! ?
Something that cannot be grasped.
A residue of existence, the shadow of a shadow, nonentity .
And our great horror, where is it? extinct?Where are we heading to?
The whole, the familiar, the living, was ended, leaving instead the partial, the ruined, damaged, wounded.This series of works looks at the residue of humanity, the world, ageless, wandering through what remains of history, searching for an anchor. An unusual beginning.
Matter without role and person lacking life, entwined, entangled with one another, “Where shall we heading next?”
In this sense, the series looks into each and every one of us, every person groping and fumbling their way through life and its practices. The shadow, the darkness, the quest for meaning, the fear, are all intertwined, inseparable.
The camera entered a forbidden domain, soundless, silent and abandoned,
The light was laid on a missing existence, robbed of innocence, a presence that once was and is now gone, vanished.Forbidden by moral constraints,
can one tell the story when everything is devastated?
Wondering if anybody of us, is embodied in the photographed figures, have the power to start anew?
The photograph is used as a corresponding message.
As a testimony. The photograph as participation token of its creators in the communal effort. As insurance against false erroneous memories.
As defiance, the photograph as a life itself.
As a remedy.
Providing their sake, the photograph calls upon the eyewitness’s gaze, inviting them to begin anew, to ride the ray of light.
Believe in the power of transformation.
Current history is missing, as are the beauties of the world, the dance of desire, carnal lust, and self-obsession is replaced with the “moment succeeding” in the past, as we all know its past course.
In this sense, the series touches on life, and the shortage of answers.
