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InsideFarAway,
Alon Segev Gallery, Tel-Aviv, 2007-2008
Neta Harari Navon’s 18-panel painting reimagines the tradition of The Last Judgment, replacing divine judgment with human responsibility. Titled Judgment Day, it questions the notion of a single, predetermined verdict. In Judgment Day, Jesus is absent; there is no judge, no judgment, no one to decide who is righteous and who has sinned. Inspired by Renaissance masterpieces and mud festivals, the work explores the tension between imposed moral order and instinctive human freedom.
InsideFarAway,
Alon Segev Gallery, Tel-Aviv, 2007-2008
Within the space of the exhibition, standing becomes the most fundamental gesture - a fragile affirmation of life. Its opposite, the ever-present threat, is falling or lying down: the fate of those who can no longer remain upright.
Standing and falling, looking and looking away, intimacy and fear become fundamental conditions of human existence. Faces are obscured, eyes are hidden, and vision is repeatedly interrupted. The house itself becomes unstable – not simply a place, but a fragile construction of memory, always on the verge of collapsing into an image.
InsideFarAway,
Alon Segev Gallery, Tel-Aviv, 2007-2008
Within the space of the exhibition, standing becomes the most fundamental gesture - a fragile affirmation of life. Its opposite, the ever-present threat, is falling or lying down: the fate of those who can no longer remain upright. Standing and falling, looking and looking away, intimacy and fear become fundamental conditions of human existence. Faces are obscured, eyes are hidden, and vision is repeatedly interrupted. The house itself becomes unstable – not simply a place, but a fragile construction of memory, always on the verge of collapsing into an image.
InsideFarAway
Alon Segev Gallery, Tel-Aviv, 2008
Within the space of the exhibition, standing becomes the most fundamental gesture – a fragile affirmation of life. Its opposite, the ever-present threat, is falling or lying down: the fate of those who can no longer remain upright. Standing and falling, looking and looking away, intimacy and fear become fundamental conditions of human existence. Faces are obscured, eyes are hidden, and vision is repeatedly interrupted. The house itself becomes unstable – not simply a place, but a fragile construction of memory, always on the verge of collapsing into an image.
Brunette | 2000-2001
Dynasty | 2000-2001
InsideFarAway,
Alon Segev Gallery, Tel-Aviv, 2008
Within the space of the exhibition, standing becomes the most fundamental gesture – a fragile affirmation of life. Its opposite, the ever-present threat, is falling or lying down: the fate of those who can no longer remain upright.
Standing and falling, looking and looking away, intimacy and fear become fundamental conditions of human existence. Faces are obscured, eyes are hidden, and vision is repeatedly interrupted. The house itself becomes unstable – not simply a place, but a fragile construction of memory, always on the verge of collapsing into an image.
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