Piles of orchards - the citrus orchards in the vicinity of my house are uprooted and are piled into piles of dry branches. They make room for real-estate areas and highways. When the orchards disappear, the arabic city of Tul Qarem is exposed behind them.
Nurit Gur-Lavi (Karni)
Citrus Orchard Piles 2002 The citriculture branch, one of the actualization symbols of the Zionistic Vision, in a process of uprooting, slicing and vanishing, makes room for a new dream. Nurit Gur-Lavi (Karni) observes the change. She paints a kind of an expressive journal in which expression is granted to the border passes between the personal and the public and between the small details to the big events.
For a decade now Nurit Gur-Lavi (Karni) has been dealing with the space that is the closest one to herself. Her father in his illness constitutes a meaningful issue in her creation. Initially in its concrete form and after his death, the piqu? blanket that has covered him in his last days serves as a platform and subject for painting. The desire to reconstruct and create a blanket leads her to the preparation of recycled paper made of old paintings. Its different bits are intended for paper "patchwork blanket". The idea is not performed but the events of the hour and the modernistic grid of the piqu? blanket, open a new painting move that is expressed through colorful, expressive painting which include sentences taken from the reality, such as: "My Roni went to the army" (*) or "The Karni passage has been shut-down" (**) and so on.
The outside penetrates the inside
The next step is a painting based upon aerial photograph of Jebalia, the refugee camp next to the Karni Barrier. This time, the imagery has been taken from concrete photographic source and yields a meaningful scenery of works that goes through diverse, painting processing whilst attention to the small details. In her painting, she follows the grid of the streets, the manner in which the bricks are organized on the tin roofs as well as other human marks. In parallel, Nurit Gur-Lavi (Karni) emerges from her studio to her proximate environment and paints it without mediation. The observation reveals a personal-public space within a change process. The citrus orchards that surrounded her house are being uprooted, thrown in piles and Tul-Quarem can be seen opposite them. The initial amazement is exchanged by the mindfulness to that which exists. Piles of citrus orchards, open view and unconcealed neighborliness, the watering pool and next to it, a cellular antenna. Again, as in the works that dealt with the father's illness, there is the observation of the change and the annihilation.
As in the Haiku poems, the piles are painted in a minimal form with references to the place, color and time. The time includes the "Shielding Wall" operation with the helicopters that rattle above the house. The changing of the scenery exposes and emphasizes not only the presence of Tul-Quarem but also the changes in the social and economic steps.
Her creation is characterized by observation of the time axis as an observer, multiplicity, expressiveness and intentional stammering. This tactic of the lack of pathos and abstention from great sayings succeeds in reflecting our existential intricacy.
Esti Reshef, June 2002 (*)
Roni, Nurit's daughter enlisted to the IDF on November 2001 and the caption by the painting "My Roni went to the army" relates to that fact.
(**) The father, Joseph Karni was a citrus grower and among the pioneers of citrus growers in the Land of Israel. He founded a packinghouse in Gazza at the end of the 1960's (The Moshe Dayan period). He held extensive business and cultural relations with Palestinian citrus growers in the Gazza Strip. The Karni Barrier is called on his name. The Karni Barrier has a political and metaphoric meaning in all the negotiations held with the Palestinians. The paintings were painted during the winter of 2002, two months after the eruption of the Intifada and the closing of the Karni Barrier.
Esti Reshef -curator
Art gallery,Perpetuation center