Selected Works

Gal Artzi  was norn in 1992 in Giv’Ati settling in the south of Israel, where he still creates his iron and glass sculptures.

His grandfather, a Holocaust survivor, immigrated to Israel from Poland. His grandmother made Aliyah from Iraq. The group of Aliyah-making
Jews, both Holocaust survivors and those who came from Iraq, grouped together and founded the agricultural settling Giv’Ati in the local municipality of Be’er Tuvia. Artzi’s works have been influenced by the countryside sceneries, the local rural daily life as well as from childhood fantasies as a small individual facing humongous spaces; these stimuli gave rise to inspirations to creating large-scale art works, and exploring the faculty to document these stimuli’s influence in the form of being able to change them into a materialistic representation.

In his works, Artzi expresses an attempt to achieve a spatial-materialistic symbiosis, while he’s not creating his works in advance, but rather in a singular matter; he does so after exploring the designated space, which is to contain his work. So he fabricates a balance between an existing naive volume and an anomalous medium which pierces through him and almost demands to be animated into foreign physical laws, expressed through rigid substances floating and stressed in an atypical fashion. Doing so, his works create a conceptual barrier within the observer, who stands juxtaposed to the art work, and who is provoced to survey by themself whether the deviant laws of physics which take over the object apply to them as well; and, most importantly, how does this control-gaining happen.
The observer is inspired to let go of orthodox, inherent forces, and to redefine themself anew.


About Subconsciousness Erupting
Oiled-Aluminum Lattice
Industrial metal lattices coated with mechanical oil speak for an attempt to animate and liberate an unyielding, stiff medium. The resulting upshot is a sculpture in the form of an organic element that unfurls as a biotic fabric and strictly denies the physical constraints of its archetypal substance. This conceptual – and, in turn, visual – transformation employs art as a force that is part bewitching and dark and part godly and metaphysical in revealing the ability of a physical state of matter to undergo remodeling; this, together with a corresponding conceptual alteration, exude a rebellious reaction to involuntary adaptations human beings passively undergo. The self-generated refashioning of external realities stresses the consequential potency of actively redeeming our singular subconsciousness.