March 11, 2024

Uriel Miron: ‘Carved at the Joints’ | Solo Exhibition at Chelouche Gallery

Uriel Miron: ‘Carved at the Joints’ | Solo Exhibition at Chelouche Gallery

Opening: Friday, 22.03.2024 at 12:00

Read text by curator Aya Miron:




Within the generous spaces of Chelouche Gallery, Jaffa, Uriel Miron presents new sculptures in wood, in which the hard, constructive material pretends to be soft and yielding. In “Carved at the Joints”, we encounter volumetric forms that seem soft and fleshy, even juicy. They are joined – or maybe pulled apart – at narrow, tenuous junctures. This is not the drama of bone joining bone, but of flesh severing from itself. The text accompanying the show, by curator Aya Miron, reveals the early stirrings of Miron’s sculptural sensibility over fifty years ago.

The exhibition features small, medium and large wooden sculptures, some colorful and some monochromatic. Many appear as volumetric swatches of color, flowing from geometric to biomorphic forms, all of them sensuous. These forms contract and dissappear as the viewer changes position, only to reappear, transformed. Broad, smooth and soft-seeming surfaces alternate with thinner, rougher facets, set off by contrasting colors. Our gaze, that follows the forms but cannot apprehend the whole sculpture all at once, is like a caress, as defined by Levinas in his words from 1946-1947:

“The seeking of the caress constitutes its essence by the fact that the caress does not know what it seeks. This “not knowing,” this fundamental disorder, is the essential. It is like a game with something slipping away, a game absolutely without project or plan, not with what can become ours or us, but with something other, always other, always inaccessible, and always still to come. The caress is the anticipation of this pure future, without content.”

The attenuated junctures that stretch, like taught wooden tendons, between the large volumes, strain under the load and evoke a fear of rupture and collapse. At these points the masses are both conjoined and pulling apart. At the same time, these fraught junctures underscore an effort and longing to hold together by even the thinnest of means. As in love, the fragile breaking points are the source of strength upon which the whole edifice relies. They are the price we pay for being serial lovers.

Rudi Lehmann’s sculpture Bird, and a reproduction of Eshet’s colorful prism drawing are also on display in the exhibition, as two genes in the formal and chromatic DNA of Miron’s latest sculptures.

Uriel Miron, Israeli artist and sculptor (born 1968). Miron spent his formative years moving between different places in Israel and the USA, and currently works in Tel Aviv, in sculpture, painting, drawing and printmaking. Miron is a graduate of Yale University Literature dept.(B.A. magna cum laude 1990); Bezalel Academy of Arts and Design, Jerusalem (B.F.A cum laude, 1995); and School of Visual Arts, New York (M.F.A. cum laude, 1998). Miron has exhibited several solo exhibitions in museums and galleries in Israel and abroad, and has participated in over 40 group exhibitions. He is the recipient of numerous awards, including the prestigious Minister of Culture Award for the Plastic Arts (2013) and a grant from Mifal HaPais. Miron’s work is in several important collections, including those of the Israel Museum,Jerusalem, Tel Aviv Museum of Art and Herzliya museum of contemporary art. He is a professor of art at the Shenkar School of Multi-Disciplinary Art and the Shenkar School of Design.

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