LandEscape Art Review // Special Issue - Page 219

Ehud Schori LandE scape CONTEMPORARY ART REVIEW How do you proceed with a site-specific project in terms of creating or selecting the images that it comprises? My site-specific projects are derived from the way I see the site. I find something that attracts my attention and respond to it with an artwork. It is funny that what I find depends on what I seek. The Dead Sea, for example, has very heavy water and you can't sink in it. It was a very natural act for me to put a doll of a boy, made of foam blocks and canes, into the water and let it float. Two years earlier I was interested in mirrors and discovered the reflecting quality of the same sea. I installed half a fish in the water and let the reflection to complete fish. The result was so good that you could not believe it was not really a whole fish. We like the way you structure your pieces. They leave space for the spectators to replay the ideas you explore in their own intimate lives, letting them become emotionally involved in what you are attempting to communicate. As Mexican artist Gabriel Orozco once stated, "the artist’s role differs depending on which part of the world you’re in. It depends on the political system you’re living under". Do you think that the role of the artist has changed these days with the new global communications and the new sensibility created by new media? They say "A prophet is not without honor except in his own country." The global communication nowadays gives the artists opportunity to test this saying. How do you go about naming your work? In particular, is important for you to tell something that might walk the viewers through their visual experience? Usually my artworks have no names. Most of my ideas are visual rather than verbal, but sometimes I have an association that connects me to the world of words. This was the case of the song "three blind mice". Over the years your works have been showcased both nationally and internationally including your participation with Horizontally Growing Trees - a Model of Growth, at the Geumgang Nature Art Biennale, South Korea. One of the hallmarks of your work is the capability to create a direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this