Just a few months after I had exhibited my work at the Bezalel Graduate Exhibition I received a telephone call from curator Tamar Katz-Friedman. She told me about an exhibition that she was curating and naturally I was extremely excited by her invitation to participate in it. I believe that it was the first museum exhibition that she had curated, and she brought a new perception of how we relate to art. A breath of fresh air.
In the exhibition catalogue Katz-Friedman paired my works with a text by Orly Castel-Bloom from her book Dolly City. It was a surprising and penetrating choice, which for me pointed to the deep connection between the curator and the artwork. Katz-Friedman also proposed that, in my capacity as a studio photographer, I take the photograph for the cover of the catalogue.
The works I chose for Antipathos were based on those in the Graduate Exhibition, although I made some changes, and I altered the layout. They were printed using the calotype process which I had specialized in.
I used hardwood for the frames, and on the back of each work I pasted prints of one of the images from a Rorschach test. Although the image wasn’t visible, because it faced the wall, its presence there was important to me. The responses to the works, which ranged from “disgusting” to “sensual” were a kind of internal test of the Rorschach inkblots. It was my private internal space, where, simultaneously, ostensibly contradictory emotions coexisted.
