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“The piqué blanket- The Karni Passage was shut down”

Nurit Gur-Lavie (Karni)


This group of works was formed in the last two years following the death of my father Joseph Karni (The Karni Passage in the Gaza Strip was called on his name). That group is a sequel to the “Transparent Suitcase” exhibition presented at the Bineth Gallery on February 2000.

In the present works, I focus on one imagery- the sky-blue piqué blanket that my father was covered with during his illness and at the time of his death.

The imagery of the piqué blanket mediates and unites between the private and personal preoccupation and the occupation with the political social existence and the artistic issues.


The material of the blanket becomes the canvass for the painting. Starting with the works composed from the material of the original blanket through the works that reconstruct the blanket from parts of paintings and up to the point in which the blanket is described through paint drawing across the width and longitude of the painting canvass. It refers to the modernistic grid on the one hand and the fences and border passages on the other.

I add verbal imageries to the visual imageries while the text functions through a number of levels. The text can be read as an expression of private iconography or as expressions taken from the daily agenda of the public and the news “Barrier, junction, axis, passage, terminal- Karni” as well as though the local cultural contexts- the piqué blanket and all of these entwined in each other. 

The text is planted in the collage act and at times, turns into part of the grid.


Through this move, I wish to create a dense and turbulent imagery of contradictory images. Between the visual imagery and the verbal imagery, between the artistic doing and the feminine craft of embroidery and the sewing of a patchwork blanket, between the personal story and the system of symbols that opens additional reading possibilities.


Out of this group of works, a new group of works is gradually being formed which is based upon aerial photographs of the Karni Barrier and the Jabalia refugee camp. Through the seemingly indifferent and alienated aerial photographs, a human weave of life is spread through an upper view and it is interwoven in the grid of alleys , yards and solar boilers.


Nurit Gur-Lavie (Karni)

October 2001