Photographed by Ami Erlich
Curator: Yham Hameiri
December 11, 2014 – January 24, 2015
Opening reception: Thursday, December 11, 8 pm
Artist talk will be held on Saturday, December 27, 12:30 pm
In Elad Kopler’s paintings, intense, fantastic coloring together with complex compositions that appear as though they undermine balance, serve as a sort of construction on the verge of collapse from which the painting is built. In Kopler’s paintings destruction becomes a new order, an ‘order’ that once again collapses into itself, while the figurative becomes abstract, that is reconstructed and collapses simultaneously. This is a sort of internal factory, where once everything has been destroyed, force continues to destroy. It undermines the ground under its own feet, devouring the remaining shell. During the apparent act of destruction, the picture opens up new battlefields, new conflicts, new tensions, and turns in new directions.
The existence of this “force on the verge of collapse” that seems to disrupt the painting’s diapason is possibly illogical, but it is precisely here that its power is concealed. Kopler’s works become a sort of immanent reflection of reality that is itself dismantled, its seismograph. The sense of actual distortion recurs and permeates works that reflect an apocalyptic reality, a pulverized, flattened social and emotional reality. the fragments of disaster. It is an explosive condition of violence that is double-barreled and turned inward, violence that seeks an unprotected weak point in order to make itself influential, like the “Demolish and Build” Company, which shaves the surface until it becomes smooth, and thus the dimensions of disaster expand.
The patches of color that float over and within constructions without a unifying core, that suggest the cubist-like division of space, emphasize the feeling of destruction: in Walter Benjamin’s essay “On Painting or Sign and Mark,” he writes about the mark in space: “More than anything, these marks appear like monuments or non-architecturally or sculpturally fashioned gravestones.” In that sense, the major cubists who attempted to control bringing the description of three-dimensional space into harmony with the picture’s two-dimensional surface, were infused with the spirit of a concrete reality. Leon Henkin, in his essay “The Completeness Proof,” speaks of the cubist collage as an attempt to create intentional confusion in the interactions of Art with Reality, like turning a “language block” into an independent reality. Thus, in his opinion a hash of Reality and Expression was created.
“I have to erase. I make and erase”, says Elad Kopler. I obsessively reconstruct a mechanism of repression, because they show us that the house collapsed as if by mistake, the painting is destroyed and flat, disintegrates. After this last summer, there was almost nothing else to take apart. The painting “The Studio” is construction followed by countless scrapings. I had to stop the dismantling because there was almost no canvas left.”
Yham Hameiri, December 2014
Elad Kopler (1974), holds a BA in Art, Hamidrasha School of Art (2004), an MFA from Bezalel (2006). He has won various prizes: The Young Artist Prize, from the Ministry of Science, Culture and Sport (2007), The Rappaport Prize for a young Israeli Artist, Tel Aviv Museum of Art (2012). He is currently exhibiting at the SELECT fair in Miami.