Yudkovik’s drawings hold hints and outlines contexts, above and under the ground. Yudkovik’s art is mostly nourished by biographical materials, evolving through a continuing dialog with death, via the awareness of finality on the one hand, and the effort to put it off on the other.
The drawings are in a state of preparation for parting, perhaps looking back on a parting, and at the same time protesting it.
In Yael’s creative experience, every drawing is a memorial, each text an epitaph.
Yudkovik’s way of drawing is confrontational. She strongly scraps the oil-sticks colored areas with her fingernails thereby scratching it, scratching the paper with pencils, engraving into it.
The drawings aren’t about vision but about not-seeing.
Yudkovik’s drawings evolve layer by layer, through erasures and concealments. Drawing as a consciousness. Each layer erases the previous one as if burying it, plastering it over.
It’s a language or non-language of post-trauma. The things are under.