The Water Falls Outside of the War
The Water Falls Outside of the War
The Water Falls Outside of the War
The Water Falls Outside of the War
The Water Falls Outside of the War
The Water Falls Outside of the War
In the series The Water Falls Outside of the War, I approach the relations of man and territory in the context of the Middle-East conflict. These relations have become the moving force undrelying recurring geo-political processes. At the same time, they represent recurrent existential attitudes throughout human history.
One form of the complicated relations between man and the land is the phenomenon of “territory in dispute”, that in the Middle-East already appears in the Bible. This is a conflict whose eruption is only apparently foreseen. It resembles the burst of subterranean lava, always surprising us in its intensity and emotional manifestations. These eruptions are evidence to the fact that contentions of a political, ethnic and existential nature are interlaced, reinforcing each other until they become confrontations of atavistic significance and nearly mythological dimensions.
The series of etchings that constitutes this project relates to the conflict by allusion, not through direct description. My point of departure in this work was twofold. On the one hand are photographs (taken by my cousin) of an artesian well, constructed by his grandfather at the beginning of the last century in a Polish village. My cousin traveled to Poland to retrace the footprints of his parents through the land where they were born, unknown to him. As chance would have it, he discovered the well by means of which, with the technique of the time, his grandfather had managed to seize water that bubbled underground and channel it into a pipe. This feat survived all the disasters, wars, conflicts and destruction wrought by both man and nature.
On the other hand, the inspiration for the title of the series “The Water Falls Outside of the War” is an article by the same name that appeared in the Israeli press. It describes how cooperation of Israelis and Palestinians on the water issue continued in the midst of the political conflict that holds the peoples of the region in its grip.
In my work, I suggest different ways of understanding the complicated and dynamic relations between different peoples sharing one territory, as well as man’s control of nature, water, so essential to life, and the flow of history in light of the origins of the Middle-East conflict and its current manifestations.
Lihie Talmor, 2000
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.
