Visual Elements: The artwork features a large black textile panel with a prominent vertical crease or fold running through the center. The fabric appears to be rough and textured, creating a sense of depth and dimension.
Subject Matter: The piece depicts a simple, minimalist composition, with the black fabric serving as the primary subject matter. The central crease or fold divides the panel, creating a visual tension and drawing the viewer's attention to the central area.
Artistic Style and Technique: The artwork utilizes a distinctive technique, likely incorporating methods of folding, creasing, or manipulating the fabric to achieve the desired visual effect. The use of a single, monochromatic color emphasizes the focus on form, texture, and the overall composition.
Context: This minimalist artwork may reflect the artist's exploration of the relationship between materials, form, and the viewer's perception. The simplicity and directness of the piece suggest a contemplative or meditative approach, inviting the audience to engage with the work on a deeper level. ...
Oshay Green forges surreal, ritualistic sculptures and installations that pulse with spirituality and political resonance. Drawing from his background as a welder and sound designer, he imbues humble materials—such as concrete, charcoal, rope, fabric, and metal scraps—with uncanny energy, exploring themes of creation, decay, and transcendence. Green’s practice is rooted in improvisation and ritual, influenced by jazz luminaries like Pharaoh Sanders, Sun Ra, and Alice Coltrane. His structures often include industrial detritus assembled into ceremonial forms—brushes made of rope dipped into concrete, cement-bound charcoal fire pits, or claw‑like steel frames—each charged with mythological weight. His work interrogates the material legacies and spiritual potential of everyday objects, tapping into diasporic metaphysics and Black radical thought. For Green, objects are not inert; they become vessel‑like proxies for ritual gestures—tools of transformation and liberation. Improvisation, material resonance, and poetic excess underscore his visual language. Whether through ink markings brushed with rope or sculptural forms shaped by concrete’s unpredictability, Green relinquishes control to chance, inviting viewers into metaphysical landscapes that defy fixed meaning. Through this richly textured approach, Oshay Green constructs art that speaks in echoes—echoes of myth, of ritual, of possibility—inviting viewers to step beyond representation and toward transformative experience. ...
Dvir Gallery was founded in 1982 by Dvir Intrator to introduce cutting-edge contemporary Israeli artists. In 1994 the gallery broadened its’ representation to include international artists such as Miroslaw Balka, Marianne Berenhaut, Douglas Gordon, Latifa Echakhch, and Lawrence Weiner in its’ program. In 2013, Dvir Gallery combined its’ 3 separate spaces into a 5-story building, the first of its’ kind in Tel Aviv. In 2016, the gallery opened its first gateway to Europe with a branch in Brussels, which strengthen and developed the existing relationship with the international artistic community. Earlier this year, on the occasion of its 40th anniversary, the gallery opened a space in Paris, in the heart of the historical Marais District, emphasizing the special ties and connection the gallery has had, since its beginnings, with the French cultural milieu, collaborating with artists, institutions and private collections. ...
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