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My close environment drives my art, in which the private is interwoven with the public and the political. The outside permeates inside and vice versa. The texts in my works reference trivia events, crossing paintings and situating the images in the personal or general space.

Over a 10 year period, I painted my father Yossi Karni throughout the progression of Alzheimer's disease, in a project that had personal sensitive elements and at the same time corresponded with complex political reality, creating the series of works "My Father Yossi Karni". Later, the orchards that were uprooted around my house became another painting project entitled "Orchards Piles", which spoke of the dual meaning of the term "uprooted". Afterwards, during the Second Intifada I started painting aerial photographs of the Karni Crossing (named after my father). Through them, I accidently arrived at aerial photographs of the nearby refugee camp Jabalia in the Gaza strip. I looked at the photographs and painted from them in an attempt to look at the landscape of "the other", at a breathing and repressed fabric of life, alongside an attempt to connect it to my personal history, which led to the series "Aerial Photography, Gaza". Similarly, the helicopters that circled, rattling and threatening, above Kfar Yona in 2001 became another painting project entitled "This is Not a Bird/Helicopters".

Later, the preoccupation with aerial photographs of Gaza led me to aerial photographs of Route 6. Driving along the route towards Gaza Envelope (and Beeri Art Gallery), I discovered gardening and artificial replanting of wild flowers along the route, the "something" that becomes "nothing" and vice versa was what formed this ongoing project "Squills on Route 6".

From there I arrived at an ongoing preoccupation with painting local flowers and their Hebrew names. This project relates to the botanical painting of Erez Yisrael plants and the botanical painters Ruth Koppel and Bracha Avigad. It raises questions concerning the Zionist ethos that my parents' generation, and later my own generation, was raised on.

My different projects, composed of many series and diverse techniques, constitute a sort of personal and local collective journal that shifts along changing timelines and charged political-emotional layers. At first glance, my work might seem eclectic, but a closer look will uncover the complex image they delineate together.

 

Nurit Gur Lavy, 2017