RawArt Gallery, Tel Aviv, 2021

White Feather

PORTAL, plasterboard, polystyrene, C&C cutting, table, putty and paint, 150X200X200cm

BIRD, inkjet printing, pasting on plexiglass and framing, 110X90 cm

REMEMBRANCE, plasterboards, aquarium, mesh fabric, sand, lighting, Plexiglas, aluminum and glass frame, 50X40X90 cm

RHYTHM, gypsum boards, CNC cutting, putty and paint

MOUNTAINS [kinetic work], gypsum boards, engine, round table, slide, ceramic glue, sand, paint, glass and lighting. 15 x 20cm on the outside, 250 x 250cm on the inside

WHITE FEATHER

March 23 - February 19, 2021-22

Curator: Maya Bamberger

Noa Yafe's solo exhibition White Feather features reliefs, photographic works, and sculptural installations
interwoven in the white gallery wall.
Through the presented objects' elusive approach to reality, Yafe offers a new perspective on her ongoing
preoccupation with illusions. In the exhibitions, The Shadow (RawArt Gallery, 2016), The Perfect Crime (CCA, 2017),
and Revulsion (Tel Aviv Artists' Studios, 2019), the technique she had developed - installation disguised as a framed
photograph - pointed to the false representation of reality under the capitalist system. The current show
illuminates other aspects of the perception of time and place: here, now, behind, through, above, and within.

From a set of concepts and forms, not entirely deciphered, a possibility is formulated: a gate within a gate within a
gate, a circle within a circle within a circle, a Bird of Paradise, the undulations of mountains in the limbo of dusk.(1)
While the camera captures a moment from which we are moving away, the ongoing structuring of the camera's
image in matter invites, through the spectacle (and via the gate), passage into a spiritual frequency. Space
becomes a container for the viewer's consciousness:

Good Knowing Counselors, the emptiness of the universe can contain the forms and shapes of the ten thousand
things: the sun, moon, and stars; the mountains, rivers, and the great earth; the fountains, springs, streams,
torrents, grasses, trees, thickets, and forests; good and bad people, good and bad dharmas, Heaven and hell, all the
great seas, Mount Sumeru and all mountains - all are contained within emptiness. The emptiness of the nature of
worldly men is also like this.(2)

[1] The work was created in collaboration with Raanan Ashkenazi

[2] Platform Sutra of the Sixth Patriarch, 8-13 centuries, China, translated by the Buddhist Text Translation Society

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