June 20 - August 17 2013
The installation "CUTTER" is prepared of black and transparent wires that stretch throughout the gallery. The wires emerge from two sources- one group latently falls from the ceiling while another group is stretched from a wall drawing marked by screw anchors. The impression is of a three dimensional drawing of an abstract form. It drifts in space like a giant web, like an attacked nervous system that froze up.
The work reflects disparate temperaments and philosophies. The wall drawing looks like a multi- component equation, a diagram that forms the statutory infrastructure for the entire work. And yet the chart drawn on the wall is in considerable inconsistence with the broken geometric shapes formed within the space. The result seems like fractions of the mathematical equation were lost and randomly resolved themselves into a mess. As if the message was interrupted from point A to B in mid- transmission, and shattered the form before it finished formulating.
One may see the work as a post-minimalist interpretation in the sense that it is based on repetition, geometric forms, grids and formulas. However Fruheling's interpretation clearly diverts from the rigid, analytical values of typical Minimalism. It is chaotic, pronged, layered, weightless and barely visible. The formulas get an intuitive turn as she goes back and forth, between working within a system and breaking it, between the need for control and the ability to let go and accept the fact that nothing can be fully controlled.
Fruheling also defuses between the plane and the structural foundation of the work. It seems she neutralizes the surface so that she can penetrate the interior and define it as the essence. The exposed structure has a sense of a ghost work, a marking in space more than a physical presence. But it is for this exact reason that the vacancies in the work become defined voluminous shapes that turn negative space into a positive one.
Interestingly, the intertwinement created invites the viewer closer and distances him at the same time. It doesn't allow entrance and therefore does not involve the viewer in the entanglement he is witnessing. The work therefore contains another contradiction since this network goes against its definition as such. Considering our shared times in particular, the viewer is faced here with an autonomous and inaccessible web. It is a private trap and what's more, if a stranger that is unfamiliar with its twists and turns will penetrate it, it can completely collapse.
Nogah Davidson, Curator
(With the Assistance of Mifal Hapayis's Visual Arts Committee)
Invitation image photographed by Yaron Attar
Installation views photographed by Elad Sarig