Executions Series

Guy Ben Ari

Executions is a representative series of work done in the last two years of studies for the BFA in the Department of Art in the name of Blanche and Romy Shapiro at Bezalel (connect to picture  No1) .  

My choice is usually of a frozen image from a moving sequence of images. A fixed image from a video, usually from the television almost always from the media world (connect to picture  No2  ). The freezing of the frame form a sequence of movements, there is a sort of stopping at the edge, a breaking at the last minute before falling into the abyss of the unknown, the threshold of terror (connect to picture No3 ). By using iconical images from the communications media, I take into consideration that the viewer is not seeing the image for the first time but remembers it, and with the memory of the original image, associated connotations and thoughts arise (connect to picture  No4 ).

My interest is in the prospect of arousing thoughts concerning the familiar image. Painting has the power to refute the "truth" that this visual information transmits, and to expose the pleasure that is created in this process (connect to picture No5 ). The painting refers to an isolated frame, and creates from within it, a new frame, necessarily different, from within which grows the possibility to stay a moment more on the familiar image, to understand its magic, its power and the messages it bears (connect to picture  No6 ).

The reference is to the magic of the television screen, its ability to draw the viewer's gaze to it, to hypnotize and to fix  the moment (connect to picture No7 ). The power of the screen arouses my curiosity also in connection (critical) to Op-art. The amazing ability to physically influence the viewer by technical means, without providing any content (connect to picture  No8 ).

I am interested in the indifference of the viewer in the face of the endless flood of images, information and pornography in the media today, and the possibility of stretching the threshold of stimulus of the viewer (connect to picture  No9 ). I have an interest in the ability of the image to take a stand, but a two-faced  stand, one that declares that all truth is partial, considering the threat and violence which resides in the image and the use of it in the painting (connect to picture No10 ).


Department of Art
4th year

Off the Record, July 2009