ABOUT THE ARTIST
BIOGRAPHY
Efrat (Effi) Baler is a multidisciplinary artist and educator based in New York, raised in Israel, Canada, and the United States. A graduate of the Bezalel Academy of Art in Jerusalem, Baler has exhibited in over 80 group exhibitions and eight solo shows across the US and internationally. She was recognized by ARTFORUM founding editor Philip Leider as one of the most promising artists of her generation and was featured in "PROMISE–Ten Bezalel Artists of the Last Decade." Baler is a recipient of the America-Israel Cultural Foundation grant, and her work has received critical recognition and is held in private collections. In addition to her studio practice, she has taught and lectured on art at institutions in New York, Jerusalem, and California.
ARTIST'S STATEMENT
I am a multidisciplinary artist creating sculptural paintings and reliefs that blur the lines between painting and sculpture. My work incorporates three-dimensional elements and unconventional materials, extending beyond the wall to stands, pedestals, and installations. By revealing hidden sides of the canvas and integrating shifting components, I invite viewers to engage from multiple perspectives and discover the layered stories within each piece.
My practice is shaped by my experiences across cultures and geographies, and I draw inspiration from everyday objects, pop culture, and personal narratives. I am fascinated by what lies beneath the surface—both literally and metaphorically—and use familiar forms to explore themes of transformation, hybridity, and the unseen histories embedded in domestic spaces.
Through my art, I encourage viewers to pause, observe, and question their perceptions, uncovering multiple meanings and backstories that reside behind and beneath the visible.
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For further insight, see the article here written about Artists' artworks and process
RESUME/CV
EDUCATION
1980-84 Bezalel Art Academy, Jerusalem, Israel. Graduated with a BFA from the Sculpture & Painting Dept.
HONORS
2025 Critic's Award, LEONA POST 2025 AWARDS EXHIBIT | Long Beach Artists League
2024 The Homiens Art Prize (Summar, 2024), Highly Commended artist.
2024 Honorable Mention Award, GEN-ART: An Exploration of Creativity Across Generations | East End Arts, Riverhead, NY
2024 Honorable Mention Award, IMAGINATION - A JURIED EXHIBIT | Long Beach Artists League, Long Beach Public Library, NY
2024 Critic's Award, 2024 LEONA POST AWARDS EXHIBIT | Long Beach Artists League, Long Beach Public Library, NY
2024 Critic's Award, NATURE, Long Beach Artists League, Long Beach Public Library, NY
2023 Critic's Award, LEONA POST AWARDS EXHIBIT 2023 | Long Beach Artists League, Long Beach Public Library, NY
2023 Honorable Mention Award, ASIAN INSPIRED ART | Long Beach Artists League, Long Beach Public Library, NY
2022 Honorable Mention Award, 66TH ANNUAL MEMBERS’ EXHIBITION | Art League of Long Island, Dix Hills, NY
2021 Members' Choice Award Winner, MEMBERS' CHOICE Long Beach Artists League, Long Beach Public Library, NY
1990 Promising artist of the 80s - cited by Philip Lieder, critic & founding editor of ARTFORUM in "PROMISE–Ten
Bezalel Artists of the Last Decade", publication in honor of the inauguration of the new Bezalel campus on Mount Scopus
1983 American Israeli Culture Foundation Scholarship for 1983-84, The Helena Rubinstein Grant (Keren Sharet)
1977 Artistic Youth Delegation of the Jerusalem Municipality to Austria and France
1976 Scholarship from the "Black Panthers" to study at the Jerusalem Artists House
SOLO EXHIBITIONS
2025 SEARCHING FOR PEACE OF MIND | Art Of the Blue at Miriam Restaurant, New York, NY
THINGS ARE NOT WHAT THEY SEEM | The Gallery at Suffolk Y JCC, Commack, NY
2024 REVELATIONS | Satelite Gallery of Patchogue Arts Council • MoCA L.I. Museum of Contemporary Art, Patchouge NY
2023 YUPO PAPER PAINTINGS AND OTHERS | Long Beach Historical Society Museum, Long Beach, NY
2017 SOLO EXHIBITION | Tugboat, PLG Arts, Brooklyn, NY
1991 SOLO EXHIBITION | Painters & Sculptures Association, Tel-Aviv, Israel
SOLO EXHIBITION | Municipal Gallery, Jerusalem, Israel
1985 MUTATIONS | Anatea Gallery, Tel-Aviv, Israel
1976 SOLO EXHIBITION | Jerusalem Municipality Youth Dept., Municipal Gallery, Jerusalem, Israel
SELECTED GROUP EXHIBITIONS
2025 PROVERBS, MAXIMS AND ADAGES July-Nov | Hebrew Union College’s Heller Museum NY, NY
STAV Israeli Artists, Israeli Artist Project | Moshava Gallery, NY, NY
VOICES ON THE MOUNTAIN | Betzalel Gallery, Long Beach, NY
136th ANNIVERSARY ANNUAL EXHIBITION, National Association of Women Artists | Leonovich Gallery NY, NY
LEONA POST AWARDS EXHIBIT (Critic's Award) | Long Beach Artists League, Long Beach Public Library, NY
62nd LONG ISLAND ARTISTS EXHIBITION | Art League of Long Island, Dix Hills, NY
LIFE THROUGH WAR, Digital projection at forum “Life Under Fire: A Time of Trials and Hope”, Beit Aba Khushi, Haifa, Israel ARTISTS ON ANTISEMITISM IV | 81 Leonard Gallery & Jewish Art Salon at the Gallery at Suffolk Y JCC, Commack, NY
68th ANNUAL MEMBERS’ EXHIBITION | Art League of Long Island, Dix Hills, NY
2024 IMAGINATION - A JURIED EXHIBIT (Honorable Mention Award| Long Beach Artists League, Long Beach Public Library, NY
GEN-ART: An Exploration of Creativity Across Generations (Honorable Mention Award) | East End Arts, Riverhead, NY
'HE SAID, SHE SAID' | on ARTSY | Amos Eno Gallery, East Williamsburg, Brooklyn, NY
TALES | Patchogue Arts Council • MoCA L.I. Museum of Contemporary Art, NY
ARTISTS ON ANTISEMITISM II | Hyams Judaica Museum at Temple Beth Sholom | Roslyn Heights, NY
OPEN INVITATION | Long Beach Artists League, Long Beach Public Library, NY
IMAGINATION REVEALED | Westbury Arts Center, Westbury NY
35th ANNIVERSARY NAWA Annual Members Exhibition (National Association of Women Artists) | One Art Space, NY, NY
LEONA POST AWARDS EXHIBIT 2024 (Critic's Award) | Long Beach Artists League, Long Beach Public Library, NY
TOGETHER | Stars in the Arts, Pop Up exhibition, Loft 39, New York, NY
REACHING OUT | Moshava Gallery, 45 W 8th Street, New York, NY
A TIME FOR FREEDOM | Betzalel Gallery, Long Beach, NY
DAILY LIFE | Long Beach Artists League, Long Beach Public Library, NY
NATURE (Critic's Award) | Long Beach Artists League, Long Beach Public Library, NY
WOMEN CELEBRATE WOMEN 2024 | El Barrio Artspace, PS 109, New York, NY
67th ANNUAL MEMBERS’ EXHIBITION | Art League of Long Island, Dix Hills, NY
NEW HORIZON | Long Beach Artists League, Rockville Centre Public Library, NY
WORKS ON PAPER | Westbury Arts Center, Westbury NY
2023 WINTER EXHIBITION | West End Arts Guild, Long Beach Public Library, NY
#ARTISTSSTANDWITHISRAEL Art for Peace | KakdelArt and SVIVA, digital projections around the world
CELEBRATION OF ART | Long Beach Artists League, Long Beach Public Library, NY
STAV Israeli Artists | Israeli Artist Project, 14th Street Y Gallery, New York, NY
NEW BEGINNINGS OPEN EXHIBIT | Long Beach Artists League, Long Beach Public Library, NY
PET PORTRAIT SHOW | West End Arts Guild, Long Beach Public Library, NY
TRANSPLANTS | Amos Eno Gallery, East Williamsburg, Brooklyn, NY
SPRING BOUNTY | Betzalel Gallery, Long Beach, NY
LEONA POST AWARDS EXHIBIT 2023 (Critic's Award) | Long Beach Artists League, Long Beach Public Library, NY
SENSE Digital exhibition | Arthouse.nyc, New York, NY
WOMEN CELEBRATE WOMEN 2023 | El Barrio Artspace, PS 109, New York, NY
61st LONG ISLAND ARTISTS BIENNIAL | Art League of Long Island, Dix Hills, NY
NEW HORIZON | Long Beach Artists League, Rockville Centre Public Library, NY
ASIAN INSPIRED ART (Honorable Mention Award) | Long Beach Artists League, Long Beach Public Library, NY
2022 CELEBRATION OF ART | Long Beach Artists League, Long Beach Public Library, NY
66th ANNUAL MEMBERS' EXHIBITION (Honorable Mention Award), Art League of Long Island | Dix Hills, NY
FORCES OF NATURE | Long Beach Artists League, Long Beach Public Library, NY
OCTOBER MEMBERSHIP EXHIBIT | Long Beach Artists League, Long Beach Public Library, NY
THE BEST OF WEST END ART | West End Arts Guild, Long Beach Public Library, NY
THE LEONA POST SUMMER AWARDS EXHIBIT| Long Beach Artists League, Long Beach Public Library, NY
WORDS & PICTURES | Long Beach Artists League Member Exhibit, Long Beach Public Library, NY
65th ANNUAL MEMBERS' EXHIBITION | Art League of Long Island, Dix Hills, NY
ANEW – A New Member Exhibit | Long Beach Artists League Member Exhibit, Long Beach Public Library, NY
2021 MEMBERS' CHOICE | Long Beach Artists League (Members' Choice award) | Long Beach Public Library, NY
THANKFUL | Long Beach Artists League Member Exhibit, Long Beach Public Library, NY
REFLECTIONS | Long Beach Artists League Member Juried Exhibit, Long Beach Public Library, NY
GOOD NEIGHBORS | Amos Eno Gallery, East Williamsburg, Brooklyn, NY
2019 LIC FEAR III | LIC Arts Open | The Plaxall Gallery, Long Island City, NY
DIGITAL EXHIBITION | Artbox.Gallery, Zürich, Switzerland
GIANT STEPS | Open Gallery, Long Island City, NY
2018 FALL SALON | LIC Arts Open | The Plaxall Gallery, Long Island City, NY
FROM MINISCULE TO MONUMENTAL | LIC Arts Open Gallery, The Factory | LIC, NY
2017 THE 5 NAPKIN SHOW | LIC Arts Open | Gallery II, The Factory, LIC, NY
DEBTFAIR Biennial 2017 | Occupy Museums project, Whitney Museum of American Art, New York, NY
ANIMALIA | Local Project Gallery, Long Island City, NY
2016 LIC ARTS OPEN | LIC Arts Open, Long Island City, NY
DIORAMARAMA | Club 157 | Williamsburg, Brooklyn, NY
THE FOOD SHOW | Local Project Gallery, Long Island City, NY
2014 THE SELFIE SHOW | MONA, Museum of New Art, Armada, MI
ANNUAL SMALL WORKS SHOW | 440 Gallery, Brooklyn, NY
2013 PLG ARTS GROUP EXHIBITION | Tugboat, Brooklyn, NY
2012 GO, BROOKLYN ART | Community Curated Open Studio Project, Artist’s Studio, Prospect Lefferts, Brooklyn, NY
THE INTERNATIONAL ARTIST FAIR | Parallax Art Fair, SoHo, NY
2011 GENERATIONS VIII | A.I.R Gallery, Dumbo, Brooklyn, NY
THE NEIGHBORHOOD | PLG Arts, Brooklyn, NY
2008 1ST ANNUAL GROUP SHOW | PLG Arts', K-Dog & Dune Buggy café, Brooklyn, NY
2006/07 TRACING SHADOWS | Israel Museum Youth Wing, Jerusalem, Israel
1999 THE BEGINNING…A SPACE EXHIBIT | The Space Gallery, Brooklyn, NY
1998 GROUP EXHIBITION | The Emerging Collector, New York, NY
SEND IN THE CLONES | The Emerging Collector, New York, NY
DIANA FEVER | The Emerging Collector, New York, NY
1995 NATIONAL SHOWCASE IV | Alternative Museum, New York, NY
1992 3 ARTISTS | The Red Building, Tel-Aviv, Israel
1990 PROMISE,10 Bezalel Artists Most Promising Artists of The Last Decade | Bezalel, Jerusalem, Israel
ARTISTS PAINTING ON A BILLBOARD | Public Gallery Project, 35 Lang St. Frankfurt, Germany
1989 GROUP EXHIBITION | Painters and Sculptors Association House, Tel-Aviv, Israel
1988 ARTISTS FOR THE AIDS TASK FORCE | Richter Gallery, Jaffa, Israel
1986 FIRST SHOWING | Dizengoff Center, Tel-Aviv, Israel
1985 FRONT LINE | Ein Harod Museum, Kibbutz Ein Harod, Israel
VISITING ARTIST LECTURES/PRESENTATIONS
2025 Lecture: Art Appreciation fundamentals & Artist Talk on Solo Exhibition | The Gallery at Suffolk Y JCC, Commack, NY
2021 Presentation of artworks at The Jewish Salon’s "AFTER THE FLOOD: REGENESIS V" Open Studio |
https://bit.ly/Salon-Presentation
1998 The History of Israeli Art & Artist's Artwork | Scholar in Residence Series, The San Francisco Library, CA
1996 Slide Work Presentation of Artist's Works and Contemporary Israeli Art | California State University, Hillel House, CA |
Chico State University, CA | Monterey Peninsula College, CA | San Francisco State University, CA | San Jose State University, CA | University of California, CA | Berkeley, CA | Congregation Sherith Israel San Francisco, CA
AFFILIATIONS
National Association of Women Artists (NAWA) | America-Israel Cultural Foundation | Long Beach Art League | West End Arts Artists Guild | Art League of Long Island | Arts Council for Long Beach | Westbury Arts | The Jewish Art Salon
SELECTED BIBLIOGRAPHY
PUBLICATIONS
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Baler, E. “Cover Art and Featured Works.” Door Is A Jar Literary Magazine, Issue 33, Winter 2024. Published by DOOR IS A JAR, https://www.doorisajarmagazine.net/issues/winter-2024
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Baler, E. (2024). TEA BREAK. Mixed media on Yupo paper. Poem "Luck" by Arik M. Cohen, inspired by the painting. In OROT magazine (Issue 15, Gaza War - a creative project). Orot Hakarakh Publications 2024. https://www.instagram.com/p/C29iFIztPUR/
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Leider, Philip. “PROMISE–Ten Bezalel Artists of the last decade”. Publication in honor of the inauguration of the new Bezalel campus on Mount Scopus. Published by BEZALEL ACADEMY OF ART AND DESIGN. June 1990.
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Ben-Noon, Yigal/ Cohen Gan, Pinchas/Lavi, Rafi/Dr. Ofrat, Gideon. “SIR LACHATZ (Pressure Cooker)–Young Art in Israel–at the Jerusalem Theater”. (Exhibition catalog). Israel: Published by STAVIT. March 1986.
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Bar-Or, Gila and Cohen Gan, Pinchas, “FRONT LINE–Group Show. Israeli Artists June–July 1985. Mishkan Leomanut Ein Harod”. Israel: Published by MISHKAN LE OMANUT MUSEUM OF ART EIN HAROD. June 1985.
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“YOUNG ARTIST’ EXHIBITION Artists House Jerusalem Summer 84’” Israel: Published by STUDIO 106. June 1984.
WEBSITES AND MEDIA APPEARANCES
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Artist Talk about the artwork “Wipe Out” at the “Artists on Antisemitism II & IV” exhibitions https://bit.ly/Wipeout-talk
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Excerpt from November Artist Talk Nov. 17, 2024: Efrat Baler on "Transplant" and "The Fabric of Our Lives" featured in the exhibition "Tales of Contact, Cultures, and Community." Curated by John Cino, Beth Giacummo, and Jeremy Dennis of Ma’s House, at the Patchogue Arts Council (PAC) and Museum of Contemporary Arts Long Island, NY (MoCA L.I.) from September 14 to November 17, 2024. https://youtu.be/0BzMAVwCcGw?si=_d-8d-BOi5Mhg78i
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Excerpt from recording from THE JEWISH ART SALON After the Flood: Regenesis V open studios. Presenting and discussing artworks relating to this theme. Artworks done during Covid lockdown and before. Curated by Dorit Jordan Dotan and Judith Joseph. September 19, 2021 https://bit.ly/Salon-Presentation
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The Food Show Exhibition, Local Project, Long Island City, NY 2016. NY1 TV segment (0:15 sec and end 1:18) Showing Piece of Cake, Pear it, Lemon Aid, FRUITION and Applet artworks. https://www.ny1.com/nyc/all-boroughs/news/2016/03/8/all--palates--welcome-at-long-island-city-food-art-gallery
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Featured Artist April 2019 on ARTSY SHARK https://www.artsyshark.com/2019/04/02/featured-artist-efrat-baler/
PRESS & INTERVIEWS
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Grasso, Nicholas "Artists on Antisemitism IV Exhibit at Suffolk Y Jewish Community Center in Commack" NEWSDAY, 23/1/25
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Weiss, Suzanne “Israeli art reflects pastiche of cultures, artist asserts”. JEWISH BULLETIN OF NORTHERN CALIFORNIA (Weekly March 1998): Entertainment/Arts/Sports.
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Photo of a painting. AL’HAMISHMAR (Daily Newspaper). Israel, (1992 Jewish New Year edition): Art and Culture.
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Director, Rutt “5 Faces of Young Art - Review of exhibition at the Red Building”. MAARIV, (Evening newspaper), Israel. (07.10.1992): Art Review.
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Photo of a painting, HA’ER. (Weekly Newspaper). Jerusalem, Israel. (09/02/1990): Back Cover
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Painting on the Front Cover. WELCOME (Magazine of the Israel Airports) published by Israel Airports Authority Ben Gurion Airport. Israel. (Spring/Summer 1992) Cover
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Vekshtein, David, “Artist Monologue” ARIM (Cities) (Weekly Newspaper). Tel Aviv, Israel. (07/12/1991): Art Section
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Baler, Efrat. “About Art on a billboard–Efrat Baler in Frankfurt, Germany”. STUDIO (Israeli Art Magazine), Israel. (February 1990 Edition): page 57
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Photo of a painting from an exhibition, AL’HAMISHMAR (Daily Newspaper). Israel. (03/14/1986): Art Section
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Reviews and photo of a painting. KOL HA’EIR (Weekly Newspaper). Jerusalem, Israel. (02/28/1986): Art Section
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Broshi, Oded “No Ideology - First Exhibition of the Year–9 artists”, YEDIOT ACHRONOT (Evening Newspaper). Israel. (01/31/1986): Art and Culture
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Photo of a painting from an exhibition, HA’ARETZ (Daily Newspaper). Israel. (04/19/1985): Art Section
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“V” - Painting commissioned by magazine, TATRAMA (Art Magazine). Israel. (June 1985): International Edition No. 3
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Levi, Itamar, “Joining the Family. Review of art show - Bezalel Art Academy Art Dept., Graduate Show” YEDIOT ACHRONOT (Evening Newspaper). Israel. (June 1984): Art Section
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Goldstein, Gary, “Review of 3rd year Bezalel Art Academy Students end-of-year show” KOL HA’EIR (Weekly Newspaper). Jerusalem, Israel, (June 1983): Art and Culture section.
ARTICLE: Artworks and Creative Process of Efrat Baler-Moses
By Orly Azran Curator, Art Critic, Artist & Art educator
Published on Facebook - September 9, 2024
Click HERE for original post
I want to express my heartfelt gratitude to Orly Azran for her beautifully written article about my artwork. Her keen observations are truly amazing, capturing my creative process, themes, and motivations in ways I can’t even verbalize. Her thoughtful perspective makes art understandable and helps viewers resonate with my work, appreciating its nuances. Thank you, Orly, for your incredible insight!
Here's the translated text courtesy of AI:
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What is the connection between the abstract (spiritual) world that surrounds our lives and the concrete realism we experience in daily life? Efrat Baler-Moses, an interdisciplinary artist living and creating in New York, physically touches on the everyday concrete, uncovering and revealing its layers through abstract conceptual thinking and a persistent use of the classical language of art.
Baler-Moses's works (disclosure: she was my classmate at Bezalel and is a good friend) adopt different conceptual starting points, yet in most of them, a controlled graphic expression stands out, based on a deep familiarity with art history. She uses this knowledge to build a challenging language of deconstruction and assembly, covering and uncovering, both at the idea and execution levels. Her works are colorful and material adventures of transitions between two-dimensional and three-dimensional, between traditional sculptural materials and the illusory surfaces of virtuoso painting, between classical conceptual and material aspects and contemporary prosaic superficiality.
As a scientist, Baler-Moses delves into layers of physical vision and conceptual observation, creating a circularity of views through multi-lens glasses. She combines provocative ideas with conscious and consistent artistic activity, seeking a complete circle of contexts and interpretations. On one hand, the circle of observation in each work is aware and closed for her as a creator, and on the other hand, it is open and broad for any casual viewer. Those observing her three-dimensional works find the circular motion in the physicality of the object, in their own movement, and in the conceptual layers of the messages in the works.
Wandering in toy stores, model and theater accessory shops, display fixture stores, and stockpiles of artificial flowers, fruits, and vegetables is the first stage in Baler-Moses's artistic work. It seems she observes the imitation of reality rather than reality itself (a bit like me, who looks at written texts rather than authentic realism), yet her wandering is guided by relevant social ideas and humane methods. In her multidimensional artistic actions, Baler-Moses tries to lose and conceal the commercial plastic materiality of objects, to process the surface through hand contact, and cover them with classical sculptural materials—plaster, papier-mâché, or cloth, or layers of paint. The 'toy-like' and superficial ornamentation of the product/object does not disappear. Even when she thickens the "power relations" in the three-dimensional composition with optimal classical realistic painting of the missing interior of the decorative object's shell, the present taste of the commercial plasticity of the products remains. While the objects are supposed to represent ideas, in practice, especially in light of the viewing experience of the final works, the emptiness of the objects remains. These are toys of an empty reality. Sad.
In contrast to American pop art, which uses ready-made objects to critique the limitless consumption of modern humans, Baler-Moses's uniqueness is her conscious crossover between Greek classicism as a source of idealization of beauty and the expressions of perfect beauty in modern society through display window toys/dolls. This conscious comparison between ideal Greek sculpture and the display window doll sharpens the absurdity Baler-Moses sees in the modern world and overshadows the empty shallowness of our lives.
Baler-Moses experiences the world through the history of art—the culture of form, color, and line. Despite her immersion in the digital world and artificial intelligence and their use in her real life, she deliberately avoids using them in her artistic activities. She insists on basing her messages through a probing observation of the classical language of art. In her works, she converses with the great masters—Velázquez, Van Gogh, Courbet, and others. She exposes the conceptual layer beneath their pictorial expression.
The multidimensional exploration of the object is manifested in Baler-Moses's work through the physical peeling of the painted canvas and the exposure of additional layers of observation, as well as conscious exposure to the absorption effect of paint on the canvas and highlighting the absorption stains on the back of the canvas. The front and back, the concrete and the illusory, are intertwined without a hierarchical order of precedence.
There is no randomness in Baler-Moses’s work; there are deliberate physical compositions of line, color, and material that build an authentic personal language, even though these, as mentioned, are based on a conscious reading of art history. I asked her to give up the intellect and act from the place of pure expressiveness. Through her works, I was drawn to a question that has troubled me in my own work for many years: Is the authentic a physical action or a considered visual declaration?
As a contemporary Israeli artist living in the United States, Baler-Moses does not relinquish the madness that has taken over Israel in the past year. She paints from a geographical distance, describing personal situations as universal, presenting the black hole of human suffering on a universal scale. Since October 7, a significant part of her works uses toy soldiers of various sizes (unprocessed) and, in others, pacifiers and baby bottles (fossilized in plaster). These serve as iconic symbols of loss, suffering, pain, and the futile power games of the current Israeli reality. In the work "War Games," the canvas depicting a classical painting of an Israeli landscape is intentionally peeled, revealing toy soldiers/fighter dolls. If from the narrative side, the painting can be drawn as a protest and mourning over the warlike layer embedded in the land's revival, then the concreteness of revealing the tunnels and fighting in Gaza strikes the contemporary observer. Since October 7, Baler-Moses chooses objects representing childhood. These combine a local tone with a universal humane approach. The pacifier, teddy bear, or baby bottles refer to chaos, the murder of children in the Gaza envelope, but represent an appeal to every person as a human being. Baler-Moses's art wants to cry out the local-personal fracture, yet it appeals to humanity regardless of political identity, national or religious origin, gender, skin color, or land area. In practice, every viewer identifies with the universal human 'I,' while the artist herself weeps for the horrors of our war.
In these turbulent days of losing national roots and searching for a Zionist-human definition, I cannot avoid feeling the artistic conflicts in the artist's language as an authentic expression of her life across the ocean. An expression of the dual life of an Israeli-Zionist like her with the fact that she has lived in the United States for about thirty years? Perhaps. A kind of subconscious connection between the internal truth and the external, likened to the idea of beauty.
Efrat, come back to us.
בילר-מוזס, אמנית בינתחומית חיה ויוצרת בניו יורק, נוגעת פיזית בקונקרטי היומיומי, מכסה ומגלה את רבדיו באמצעות חשיבה קונספטואלית אבסטרקטית ושימוש עקשני ביסודות השפה הקלאסית של האמנות.
עבודותיה של בילר-מוזס (גילוי נאות, בת כיתה שלי מבצלאל וחברה טובה), מאמצות נקודות מוצא רעיוניות שונות, אולם ברובן כבכולן בולט ביטוי גרפי מבוקר, המבוסס על רמת היכרות עמוקה של תולדות האמנות. את האחרונה היא מאמצת לבניית שפת מחברים מאתגרת של פירוק והרכבה, כיסוי וגילוי, הן ברמת הרעיון והן ברמת הביצוע. עבודותיה הן סיפורי הרפתקאות צבעוניות וחומריות של מעברים בין דו-ממד לתלת-ממד, בין חומרים פיסוליים מסורתיים לבי פני שטח אשלייתיים של ציור וירטואוזי, בין היבטים רעיוניים וחומריים קלאסיים לבין רדידות פרוזאית עכשווית.
בילר-מוזס, כמדענית, חופרת ברבדים של הראיה הפיזית ושל ההתבוננות הרעיונית, ויוצרת מעגליות של מבטים במשקפים רבי עדשות. היא משלבת בין רעיונות מתריסים לבין פעילות אמנותית מודעת ועקבית, מחפשת מעגל שלם של הקשרים ופרשנויות. מחד, מעגל ההתבוננות בכל עבודה מודע וסגור עבורה כיוצרת, ומאידך, הוא פתוח ורחב לכל צופה אקראי. המתבונן בעבודותיה התלת ממדיות מוצא את התנועה המעגלית הן בפיזיות של האובייקט, הן בתנועתו הוא והן ברבדים הקונספטואליים של המסרים שבעבודות.
שיטוט בחנויות צעצועים, בחנויות למודלים ואביזרי תיאטרון, בחנויות למתקני תצוגה לחלונות ראווה, בסטוקים של פרחים, פירות וירקות מלאכותיים, הם השלב הראשון ביומיום של העבודה האמנותית של בילר-מוזס. נראה שהיא מתבוננת בחיקוי של המציאות ולא במציאות עצמה (קצת כמוני, שמתבוננת בטקסטים כתובים ולא בריאליזם אותנטי), אלא שהשיטוט מכוון על פי רעיונות חברתיים ומתודות הומניים רלוונטים. ככל שבפעולותיה האמנותיות הרב ממדיות, בילר-מוזס מנסה לאבד ולהסתיר את החומריות המסחרית הפלסטית של החפצים, לעבד את פני השטח באמצעות מגע יד, ולכסותם בחומרי פיסול קלאסיים – גבס, עיסת ניר או בד, או שכבות צבע, ה'צעצועיות' והקישוטיות השטחית של המוצר/החפץ לא נעלמת. גם כשהיא מעבה את "יחסי הכוחות" בקומפוזיציה התלת ממדית באמצעות ציור ריאליסטי קלאסי מיטבי של הפנימיות החסרה של קליפת החפץ הקישוטי, נשאר טעם נוכח של הפלסטיות המסחרית של המוצרים. בעוד שהחפצים אמורים לייצג אידיאות, בפועל, במיוחד לנוכח חווית הצפייה בעבודות הסופיות, הריקנות של החפצים נותרת. אלה צעצועים של מציאות ריקנית. עצוב.
בניגוד לאמנות הפופ האמריקאי, שבשימושה בחפצי רדיי מייד, מבקרת את הצריכה חסרת הגבולות של האדם המודרני, הייחודיות של בילר-אפרת היא ההצלבה המודעת שלה בין הקלאסיקה היוונית כמקור האידיאליזציה של היופי לבין ביטויי כליל היופי בחברה המודרנית באמצעות צעצועים/בובות חלון ראווה. השוואה מודעת זו בין הפיסול היווני האידיאלי לבין בובת חלון הראווה מחדדת את האבסורד שרואה בילר-מוזס בעולם המודרני, ומאפילה על השפל הריקני של חיינו.
בילר-מוזס חווה את העולם באמצעות תולדות האמנות - תרבות הצורה, הצבע והקו, וחרף התמצותה בעולם הדיגיטלי והאינטליגנציה המלאכותית והשימוש בהן בחייה המציאותיים, היא נמנעת במכוון מלהשתמש בה בפעילותה האמנותית. היא מתעקשת לבסס את מסריה באמצעות התבוננות חקרנית של שפת האמנות הקלאסית. בעבודותיה היא משוחחת עם המאסטרים הגדולים – ולסקאז, ואן גוך, קוסות ואחרים. חושפת את הרובד הקונספטואלי שמתחת לשפת הביטוי הציורית שלהם.
החקר הרב ממדי של האובייקט מתגלם אצל בילר-מוזס בפיזיות של קילוף הבד המצויר וחשיפת רבדי התבוננות נוספים, כמו גם חשיפה מודעת לאפקט הספיגה של הצבע בבד הקנבס והבלטת כתמי הספיגה על הבד מאחור. הקדמי והאחורי, הקונקרטי והאשלייתי מעורים זה בזה ללא סדר היררכי בעל קדימות.
אין מקריות בעבודה של בילר-מוזס, יש הרכבים פיזיים מכוונים של קו, צבע וחומר שבונים שפה אותנטית אישית, גם שאלו, כאמור, מבוססים על קריאה הכרתית של תולדות האמנות. ביקשתי ממנה שתוותר על השכל ותפעל מהמקום של האקספרסיביות הנקייה. באמצעות עבודותיה נשאבתי לשאלה שמטרידה אותי, בעבודותיי, שנים רבות. האם האותנטי הוא פעולה פיזית או הצהרה מושכלת חזותית?
כאמנית ישראלית עכשווית החיה בארצות הברית, בילר-מוזס אינה מניחה לטירוף שהשתלט על ישראל בשנה האחרונה. היא מציירת מתוך ריחוק גיאוגרפי ומתארת מצבים אישיים כאוניברסליים, מציגה את החור השחור הכלל אנושי של שבת הטבח. מאז השבעה באוקטובר, חלק נרחב של עבודותיה משתמש בחיילי צעצוע בגדלים שונים (לא מעובדים), ובאחר – מוצצים ובקבוקי ההנקה (מאובנים בגבס). אלה מהווים סמלים אייקונים לאובדן, לסבל, לכאב, למשחקי הכוח חסרי המוצא של המציאות הישראלית הנוכחית. בעבודה "משחקי מלחמה" הקנבס שמתאר ציור קלאסי של נוף ישראלי מתקלף במכוון, ומגלה צעצועי חיילים לוחמים / בובות של חיילים. אם מהצד הסיפורי ניתן לשאוב מהציור מחאה ויגון על הרובד המלחמתי שטמון בתקומת הארץ, הרי שהקונקרטיות של חשיפת המנהרות והלחימה בעזה מכה על המתבונן העכשווי. מאז השבעה באוקטובר בילר-מוזס בוחרת בחפצים המייצגים ילדות. אלה משלבים בין נימה מקומית לבין גישה הומנית אוניברסלית. המוצץ, הדובי או בקבוקי ההנקה מתייחסים לכאוס, לרצח הילדים בעוטף עזה, אבל מייצגים פנייה לכל אדם באשר הוא אדם. רוצה האמנות של בילר-מוזס לזעוק את השבר המקומי-האישי, אך פניה לאדם מבלי קשר לזהות פוליטית, מוצא לאומי או דתי, מגדר, צבע עור או שטח אדמה. הלכה למעשה, כל צופה מזדהה עם ה'אני' האנושי האוניברסלי, בשעה שהאמנית עצמה בוכה את זוועות המלחמה שלנו.
בימים טרופיים אלה של אובדן שורשיות לאומית וחיפוש אחר הגדרה ציונית-הומנית, איני יכולה להימנע מלחוש את הקונפליקטים האמנותיים בשפתה של האמנית כביטוי אותנטי לחייה שמעבר לאוקיינוס. ביטוי לחיים הכפולים של ישראלית-ציונית שכמותה עם העובדה שהיא חיה מזה כשלושים שנה בארצות הברית? אולי. מעין חיבור תת הכרתי בין האמת הפנימית לבין החיצוניות המשולה לאידיאה של יופי.
אפרת, חיזרי אלינו.
