Create your first list.

A way to share and manage lots.

  • Provenance


    Galerie EIGEN + ART, Berlin

  • Exhibited


    Berlin, Galerie EIGEN + ART, The Pomegranate Orchard, 16 July – 27 August 2005; Dresden, Leonhardi Museum, The Cave Light…, 9 December 2005 – 22 January 2006; Brussels, Sint-Lukas Galerij, The Guardian of The Pearl’s Shadow, 10 May – 2 July 2006

  • Literature


    Leonhardi Museum, ed., The Cave Light…, Dresden, 2005, no. 30, n.p. (illustrated); Sint-Lukas Galerij, ed., The Guardian of the Pearl’s Shadow, Brussels, 2006, p. 2 (illustrated)

  • Catalogue Essay


    Sasportas’s depiction of nature is miles away from the romantic idea. In her drawings and sculptures, she primarily expresses our current representational concept of nature as we know it from computer and media images or from our travel memories. But her own experience with the olive groves of Israel, the mountaintops of Engadin in Switzerland, the European tradition of landscape painting and oriental silk rolls also has echoes in her work. The image of pixels and lines is linked to scientific insights and the evolution of art history. We know about evolutionary biology, quantum mechanics and chaos patterns. Inside views of the particle matter of trees or of the structure of mountains as seen from different angles have the effect of making the general scene fall apart into abstract components. Cézanne made us look at a mountain from several points of view at the same time; Monet told us about his own energy combined with light analysis when he painted the water lilies; and Van Gogh’s work was a passionate search to depict the inside of matter. The landscapes of Sasportas are heterogeneous pictures, composed from an eclectic memory… We are looking primarily at artificial signs of the landscape, marks that suggest the idea of a landscape in our imagination rather than evoke any real landscape. The heritage of linguistics lingers on in this process, and it is also affected by the spread of digital communication. Our romantic image of nature is based on digital images and cultural-historical expectations, topped with tourist-industry clichés. Evolutionary biology and particle physics have become equal partners of this digitized romanticism. In Sasportas’s work, the abstract dimension has gradually come to carry more weight than the decorative element. Here too, we find that both the picture and reality itself can be reduced to on analogous fundamental structures.
    (F. Luyckx, Yehudit Sasportas, The Guardian of The Pearl’s Shadow,
    Brussels, 2006)

313

Three Black Lakes

2005

Graphite, ink and marker pen on paper in three parts.

Each: 198.5 x 110 cm. (78 1/8 x 43 1/4 in).; overall: 198.5 x 330 cm. (78 1/8 x 129 7/8 in).

This work has been requested by the artist for a group show entitled Access To Israel I & II – Israeli Contemporary Art at the Jewish Museum in Frankfurt from 14 May to 18 November, 2008.

Estimate
£15,000 - 20,000 

Sold for £34,100

Contemporary Art Day Sale

29 Feb 2008, 2pm
London