Orna Druker

My painting deals with images and subjects from necromancy. It relies mainly on both daguerreotype material and old photographs in which images of people, no longer alive, have been immortalized. I relate to painting in a similar way to the activity in the conventional photography laboratory, where the image is made permanent in a magical way after exposure to light and its immersion into the chemical solution. In this act the painting sheds the layers of muddy and coloured oil and becomes minimalist both in material sense  and also in the  range of its colours. The work as a whole takes its source from the term " the want of matter " through the use of loose, thin materials like flisonin paper, tissue paper and wet paper towels and then the colour disintegrates and the flat canvas reacts accordingly – sometimes yellows or turns blue, like old photos, which try to be alive – despite their being black. The material is an active part of the work no less than the colour. The images are taken from artificial frameworks that man has created: schools, youth movements and political organizations from the distant past. The painting dissolves and deconstructs them into units and groups, most of them veiled in the dark mist of the ink.


  Druker.ppt (2.58 MB)

Department of Art
3rd Year

Off the Record, July 2009