MIRIT COHEN CASPI ARTIST       

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Mishkan LeOmanut, Museum of Art, Ein Harod, Israel 2003-2004.
Mini retrospective-Works 1985-2003
Curator:Galia Bar Or
Photographs: Avi Chai
 
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Museum of Art Ein Harod
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1986, wood, wooden soles, bolt and wing nut, 65x43cm.
1991, pine, stainless steel, too “cupping glasses”, plexiglass, 20x30
1991, pine, aluminum threads, glass ball, 23x17 cm.
1991, pine, glass, aluminum and metal net’ 41x17X20 cm
Shall(“Shell”),  We Live Tomorrow? 1997, wood, bark, paper, pencils, rubber ball, cotton threads, computer print, 178x112 cm.
1996, computer print on paper, 3 units, each: 91x72 cm.
2002, leather boots, silicone, and computer print resembling bristles, 60x35 cm.
2002, shoes, fabric, pins, and computer print resembling bristles, 45x30 cm.
1998-1999, silicone, cloth fibers, woolen blanket, roots and computer print resembling earth and roots, 160x52 cm.
1998-2003,  perforated computer prints
  

Home >> Museum of Art Ein Harod

Museum of Art Ein Harod

Click here to view as slideshow

 
1986, wood, wooden soles, bolt and wing nut, 65x43cm.
1991, pine, stainless steel, too “cupping glasses”, plexiglass, 20x30
1991, pine, aluminum threads, glass ball, 23x17 cm.
1991, pine, glass, aluminum and metal net’ 41x17X20 cm
Shall(“Shell”),  We Live Tomorrow? 1997, wood, bark, paper, pencils, rubber ball, cotton threads, computer print, 178x112 cm.
1996, computer print on paper, 3 units, each: 91x72 cm.
2002, leather boots, silicone, and computer print resembling bristles, 60x35 cm.
2002, shoes, fabric, pins, and computer print resembling bristles, 45x30 cm.
1998-1999, silicone, cloth fibers, woolen blanket, roots and computer print resembling earth and roots, 160x52 cm.
1998-2003,  perforated computer prints
  
   
Layers of Identity 
On the Oeuvre of Mirit Cohen-Caspi
By:Galia Bar-Or
 
Mirit Cohen-Caspi, for 20 years now, has created works in so many diverse media that one might imagine that the different chapters of her oeuvre had been created by a number of artists, not just one. But a deeper contemplation of the entire oeuvre reveals the consistent backbone underlying the various fields that engage her, in drawing, painting, sculpture, incorporation of text, found material, and digital work. In all her works we find the human figure, explicit or concealed, and transformations of the figure by means of disassembling, assembling and hybridizing into organic, technological, and design components. In her engagement with the human figure, beginning with her painting and her sculpture in the early ’80s, the fundamental question upon which her total oeuvre is based. Its essential interest is in the character of the affinity existing between structure and representation, between inner and outer essence, between physical sensation and image.
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