Ora Avrahami (1935- 2015) – Earth, Art, Life and Death

There is an insurmountable yearning to grasp

Earth as if it were the embodiment of the Great Mother of Life and Death.

All series begin and end with the theme of Earth.

Memories of infancy look like medieval paintings, ignoring the conditioning of space and time.

Historic events are depicted, spreading in all directions: the joy, the new settlers of Israel, the dancing, biblical iconography, oriental traits and the fatal bombardments of wars…

There is never an empty space left in the works.

Ora Avrahami paints because she is driven to do it.

She has no choice as her artwork is a tool to reach meaningfulness. This may be the reason why her psychological intensity is transfigured on the canvas as a tumult of colors and forms grouping in a rational reduced context, within a wider context of a seemingly non controllable chaotic environment.

A joy of the remembering infant eye, insisting to maintain the livelihood of infancy by a mature artist, having experienced the harassment of finality, within the most inner psychological and physical space.

The pictorial overabundance is counteracted by the series of “The Song of Earth”. In this case, the Great Mother loses her vivid garments and remains devoid of pigmentation except the scale of black and brown watery expressivity.

Nevertheless, the inner conflict between vitality and finality – persists.

“The Song of Earth”, though being monastic, is enriched by sub-nuances, contributing to its visual richness.

Avrahami has spent  a life time on alternative series as ” The Marionettes”, “The Letters of Creation and Destruction”, “Falling Buildings”, always repeating the same themes – otherwise.

The rise and fall, profusion and lethargy are strongly interlinked. It seems that the artist’s sub-consciousness is unceasingly overwhelmed by the visions of a collective holocaust of the Jewish people, the wars of Israel and a personal persisting grief, triggered by the loss of two sick sons, predestined to die – very young.

But there is the latent obstinacy permeating through all the works, to relish Earth crop, sights, smells and sounds and moreover to experience a quasi-aphrodisiac sensation produced by the capability and facility to create.

Dorit Kedar


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About Dr. Dorit Kedar

Forced to continuously change nations, cultures and schooling - I had to develop a wider sense of communication, a way of thinking-feeling-behaving which stresses the common denominators. The need to adapt new landscapes and land-souls has taught instinctive means to overcome separatism, prejudices, dogmatic beliefs and suspicions. While looking for the common gathering denominators, I have also increased the ability of perception and individuation. Being constantly in estranged places has triggered psychological processes to turn the unfamiliar into familiar. As an art critic in the Israeli press, a curator, a writer - have always dealt with the otherness, the different and the infinite variety of the Existent. My Book of Peace is the result.
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