RI / RONG 2011-2012

> RI / RONG

RI / RONG

{…) We see that in the shift from the photographic to the graphic mode, distinct instances of landscape can become grade, gradation: the volumetric can take flight; the paths condense into linear incisions; the descriptive becomes narrative, or, freer still, expressive; the certain of the photograph is transformed into the uncertain of the print, but also, the ambiguous scales or forms of the photographic can become new certainties in the reality of the etching{...}.

María Elena Ramos

August 2012

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

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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?

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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

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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?

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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

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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…

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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.

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