Untitled Wall is Nava Waxman’s most challenging interdis- ciplinary work, featuring a series of studio performances, from her extensive archive material spanning over the past three years to the more recent pieces.
It is an organic and visceral practice, as she is dealing with the concepts of metaphors and allegories which construct her perfor- mances and her ongoing research on how to portray situations that are comprised of various elements such as painting, objects, space and her body gestures. Her work does not acquiesce in
an obvious self- representation and beyond her perspective
as the creator with the physical presence in the process, she does not consider her oeuvre as completely autobiographical.
Waxman’s aesthetics are referential and by the use of classic art media in combination with New ones, she transform her ideas into a ritualistic Theatre. She conserves in her editing process
a continuation of things past gone and of things yet to come. The essence of these junctions and additions influences how each of her artistic materials and techniques relates to each other. Thinking within the framework of object-making, her dilemma and principal focus is how to form an Image both expressively and critically charged while engaging with concepts around experience and representation.
Nava Waxman addresses and questions the traditional method of painting and whilst she deconstructs it, at the same time raises the task of painting to a coalescence of references; from the research and study of Art History to the factual and mytho- logical and other fields such as Literature and Music.
The core of her practice and performances resides in the task of painting on her studio wall. The Wall has been painted over and over again with ephemeral paintings that resonate with the fluid time and space. Traces of paint, lines and faded images are there so as to be merged into something new. Her methods of painting transform the Wall into a Live Ephemeral Palimpsest that constantly changes. The narration of this exhibition is multileveled and concentric.
The context of examining the relationship between perfor- mance and visual art lies in the origin of the vast documentations material, since from the very beginning she used photography
in order to capture the creation of the artwork as an Art as well. It is a celebratory continuous discovery and illumination of the action after its genesis. The combination of Technics and Time or as Roland Barthes wrote
A sort of umbilical cord links the body of the photographed thing to my gaze: light though impalpable, is here a carnal medium, a skin
I share with anyone who has been photographed.
The transitory nature and duration of the artworks coincides with her evolution as a visual artist. She is aware of the fact that the produced artwork will only last for a limited period of time. Capturing the random, the magical, the thoughts and the feelings made this wholeness tangible. In a way it is a struggle; Painting versus Painted.