LandEscape Art Review // Special Issue - Page 141

Ehud Schori Land scape CONTEMPORARY ART REVIEW and fascination one experiences when confronted by destructive natural phenomena. When I first began working on Viral Theories the accumulation of parts reminded me of insect swarms. By coincidence, just after I’d finished the piece an actual swarm of honeybees, the size of a basketball, rested in a tree just outside my studio window. I was fascinated by the swarm but also concerned the bees would settle in a place that would cause damage and there was a threat since the bees were situated right over the main walkway to the house. After a few days I called a neighbor who kept bees. She arrived with a kind of bee swat team (white suits and netted helmets, white van, orchard ladder, and box) and they rescued the swarm and the hive settled safely. Art can be a fluid medium to elicit memory and emotions unique to each viewer. I like to keep the figuration fluid so that viewers can bring their own memory and emotion to the work, which hopefully taps a universal language of experience. Viral Theories could be considered as an exploration of the interstitial point between figurative and abstract in constructed space of our mediadriven ange: we appreciated the way your research unveils the flow of information through an effective non linear narrative, establishing direct relations with the viewers: German multidisciplinary artist Thomas Demand once stated that "nowadays art can no longer rely so much on symbolic strategies and has to probe psychological, narrative elements within the medium instead". What is your opinion about it? And in particular how do you conceive the inner narrative for your works? I agree with Thomas Demand that a more immersive and multi-disciplinary form of expression is most effective in order to communicate the complexity of a world that exists increasingly within an intangible, abstract plane. The physicality of my work confronts disconnection between inner narratives and the corporeal. Removed from pedestals, sculpture (especially installation) confronts the space of a viewer and co-opts context into the content. However, my pieces are a bit more parasitic of the context rather than site-specific. Rhizomatous connections are fascinating natural systems that are mimicked in our cultural constructs and which allow non-hierarchical flow of information and in this sense I am driven by examining the space between how we physically navigate the world with either the aid or hindrance of rational and cultural constructs or how we make these circuitous connections. For instance, when you walk through the city you carry a map in your mind that imposes order onto your navigation. A natural area may have borders either real or culturally constructed, as in the physicality a river or the property