Read text by curator Aya Miron:  Hebrew  /  English

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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.

Show

List of Works

Are You Bluish?

beechwood and oil-paint
123x335x37 cm

Ear-to-Mouthpiece

2024

maple and paint
 80x68x14 cm

(wall sculpture)

Swipe

2010

acrylic and graphite on paper mounted on masonite and wooden structure
68x97x9 cm

(wall sculpture)

Dolphin

2024

reclaimed Indian rosewood and oil paint
126x133x12 cm

(wall sculpture)

Scapulae

2024

ebonized maple and oil paint
39x26x9 cm

Anyone Can Dance

2024

ebonized maple
26x51x35 cm

Fuchs

2024

ebonized walnut and oil paint
44.5x44x25 cm

A Dove for Yonah

2021

white oak and oil paint
20x35x37 cm

Collection of Yona Fischer

 

Crotch Walk

2020

oak and oil paint
37x42x29 cm

Yellow

2024

walnut and oil paint
36x47x27 cm

Dido

2023

ebonized walnut
34x30x11 cm

Wedges

2019

pine and oil paint
33x34x18 cm

Mekupelet

2024

pine and oil paint
163x180x59 cm

Oh, Pinchas!

2023

beechwood and oil paint
89x173x50 cm

Hey Rudy!

2023

cherry wood
92x78x36 cm

Red

2024

ebonized cherry wood and oil paint
60x50x10 cm

(wall sculpture)

Buried Cheddar (in memoriam Graham Chapman)

2020

oak and oil paint
24x83x5 cm

Site for a Sore Eye

1995/2023

pine and oil paint
160x152x12 cm

Pinchas Eshet (1935-2006)

Untitled

ca. 1975

ink on paper (copy)
21×16.5 cm

Collection of Maya Gal Eshet, Haifa
Photo courtesy of Michael Gordon

Rudi Lehmann (1903-1977)

Bird

1950s

cherry wood
10x11x7 cm

Collection of David Miron, Hogla
Photo: Amnon Miron

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