Everything remembered is dear, everything remembered is there is a series of lithographs and etchings based on photographs I took in the summer of 2013 during a journey with my daughter, media anthropologist Ruti Talmor, retracing Elvis Presley’s footsteps through the American South (Alabama, Mississippi and Tennessee). This series will be included in a limited-edition artist book (containing original prints) and a general print book (containing reproductions), accompanied by texts by various scholars.
Capturing this invisible-but-present trace of the past in a photograph, and then rendering it visible through the “invention” of etching upon the photograph, is a central motif in my artistic practice. In this project, photogravures* based on photographs of these quotidian places consisted of my quest to ‘find’ Elvis within the myth, and in turn, convey it to viewers.
In recent years, the work of Lihie Talmor has been like a progressive conquest of artistic space: from the two-dimensional plane of the etched page, with its illusionary spaces
Is it necessary to have the proper distance so as to see the full picture? And how does one know what the proper distance is?
In recent years, the work of Lihie Talmor has been like a progressive conquest of artistic space: from the two-dimensional plane of the etched page, with its illusionary spaces
Is it necessary to have the proper distance so as to see the full picture? And how does one know what the proper distance is?
It is not difficult to see in Lihie Talmor's work the expression of a sensitivity in its utmost development, that the artist knows how to communicate assertively
There exist an overriding need to distinguish between the ephemeral and the essential; the ephemeral wounds, the essential yet endures; until the day when the ephemeral will have corroded the essential, will have destroyed its very nucleus, its hard nucleus…
In a country where oblivion is who gathers the remains of the city, where the blanks of collective memory decide about the changes in power and the markets, the work of LIHIE TALMOR functions as a film of the subversive unconscious.
