LandEscape Art Review // Special Issue - Page 144

Land scape Ehud Schori CONTEMPORARY ART REVIEW designation of a National Forest Boundary. As a child I spent years sailing across vast open waters. The acute experience of travelling in a modest vessel, through fluid space armed mostly with the abstract trust that maintaining an ordered path along the compass needle would achieve the goal of arriving at the intended destination, was always fascinating to me. Order is a necessity, no doubt, but it is a somewhat static belief system. My work could be seen as a kind of complex mapping of experience and perception in a given time period and that map exposes the friction between order and chaos. Another interesting project of yours that has particularly impressed us and on which we would like to spend some words is entitled Atlas for Invisible Territory: we appreciated the way you have been capable of creating a point of convergence between a kind of imagery belonging to universal imagery and direct experience with concrete aesthetics you convey through a personal language. So we would take this occasion to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process... Do you think that a creative process could be disconnected from direct experience? A creative process that attempts to entirely separate and objectify personal experience has the potential to create work that is flat and cold, impossible for viewers to relate to. On the other hand, symbolism can also be quite obtuse if too specific to one particular narrative and work that attempts to communicate only one interpretation can also fall flat. You have mentioned the concept of “universal” imagery or language a few times and I think we agree that there can be such a thing; the key to creating art that pulls a viewer into new perceptions of their world is to solidly ground the work in personal experience but to also allow multiple readings and tap into the core of an experience to transcend individual, personal history and communicate something broader about the human condition. Atlas for Invisible Territory attempts to layer multiple planes of pictorial space and I am pointedly working with mapping communications in that work, the combination of which is an attempt to create a synergetic composition open for interpretation. As you have remarked once, you are interested in disorganized complexity as a prominent overlay to the rational constructions of contemporary life: we have appreciate the investigative feature of the way you explore emerging visual contexts: especially in Geography of the Interior, you created an effective visual narrative. Artists are always interested in probing to see what is beneath the surface: maybe one of the roles of an artist could be to