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This contemporary art piece features an abstract sculptural form composed of contrasting materials and shapes. The predominant colors are dark, muted tones with a single vibrant green cactus in the background, creating a visually striking composition. The sculpture's irregular, folded surfaces suggest a sense of dynamism and movement, employing a distinctive sculptural technique that adds depth and visual interest. The artwork's juxtaposition of urban and natural elements, along with its ambiguous, imaginative form, suggests the artist's intention to challenge conventional notions of public space and engage the viewer's interpretative faculties. ...
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. ...