Stones

Untitled, wine gum on iron & plaster

Digital Print

Nature Morte

Gathered

Calender Girl

Water Color on Paper with Mixed Media 2006-2007

Sweet Blood

Text and Body 2001-2002

Life Guard

Blinds 2000-2001

Sparrows 1994-2000

Candy 2003-2006

2006
Michal Shamir’s Wall Wound places a three dimensional close up of Jesus’ wound- stuffed with gummy candy shaped like snakes and worms- dug into a wall, as a scratch refusing to cicatrize. The work deals with the gaps between sweetness and pain and forms a direct and sardonic dialogue with art history. Death is a central theme in the piece where Shamir carries on her interesting and original pursuit of works assembled from candy. Inside the plaster wall Shamir created a bloody wound organized in the expected pattern as Jesus’ wound of the stigmata.
Michal Shamir, Wall wound, wall piece, wine gums, detail

About the work by Michal Shamir Wall Wound

in the exhibition “strait lines will never meet” Chelouche Gallery for Contemporary Art May 2004

Details of the work: Wall Wound, a wall piece made out of gummy candy. Measurements by photograph are length 120 cm, width 40 cm and depth 30 cm. other measurements are possible according to the needed space. Exhibited in the gallery on May 2004, and will be exhibited again on May 2005 in the exhibition “The Hebrews”, at the Martin Gurpius Bhau, in Berlin.

Michal Shamir’s Wall Wound places a three dimensional close up of Jesus’ wound- stuffed with gummy candy shaped like snakes and worms- dug into a wall, as a scratch refusing to cicatrize.
The work deals with the gaps between sweetness and pain and forms a direct and sardonic dialogue with art history. Death is a central theme in the piece where Shamir carries on her interesting and original pursuit of works assembled from candy. Inside the plaster wall Shamir created a bloody wound organized in the expected pattern as Jesus’ wound of the stigmata. The wound is renowned in art through the image of the incredulity of Saint Thomas, one of Jesus’ messengers that questioned the resurrection of his lord, and was instructed by Jesus to reach forward and touch his wound (for example, Caravaggio’s well known painting The Incredulity of Saint Thomas, 1601-02).
The modern analysis of the image emphasizes the hidden sexuality of the situation- penetration into something reminiscent of a female sexual organ- next to the pursuit of the context of faith and the human need for physical proof of its existence.
Shamir refers to these two approaches. When one looks at the work up close, absurd dough of gummies is visible, shaped like teeth, sunny side up eggs, snakes and more, melted together in a sickening mixture.

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