Wednesday, May 2, 2012
Tuesday, June 2, 2009
Wednesday, August 6, 2008
Exhibition
1973- city hall Roterdam; Netherlands.
1978- Ashkelon; Israel .
1984-"Bezalel" the Jerusalem artists'house Gallery.
1986-Manhim; Germany.
1987-firenhiem city hall,Germany.
1994- "Shlouh" Gallery Tel Aviv.
2001-"Shloush"; Gallery Tel aviv .
2001-Ministry of defence war veteren's organisation.
1996-2001-Taught art therapy at the Israel National Institute for mental health.
2004-Israel and French friend association; Eilat .
2006- Maagan Michael; Israel.
2007- Hanita Museum,Israel। The Archeological,History and Modern Art .
2008- E0AF , National Library Wien
manager : aviva david-harel
email:telavivny@gmail.com
tel : + 97239230559
cell : +972522562220
yair Email:Nachmany19@hotmail.com
cell:(972)0522330280
movie about the artsit :http://www.youtube.com/watch?v=5_Oifyc2l9U
Thursday, June 5, 2008
About The artist - part 1
Yair Levy studied art in Holland, where he lived for six years, and came back to
Israel where the local rhythm of life, the local tensions, the wars, the light and the Mediterranean colorfulness - all show in his work।
His technique has undergone various changes throughout the years. New materials were added, creating unique juxtapositions. Unusually shaped gourds, round pieces of colored glass, and, in later stages, even an artificial eye, were all incorporated in his works. Yair took total artistic freedom pushing ceramic sculpture to absolutely new grounds.
In the 1980's, he exhibited a samurai figure, wounded in battle, lifting his hand to his wounded eye – a prophetic sculpture: Yair was hit by a hand grenade in war and lost an eye. Yair managed to overcome this serious injury and continues working three-dimensionally. It took a lot of inner strength to get back to the routine of an artist's discipline; the full artistic expression, and rich and colorful vividness typical of his practice.
Yair Levy studied art in Holland, where he lived for six years, and came back to
Israel where the local rhythm of life, the local tensions, the wars, the light and the Mediterranean colorfulness - all show in his work।
His technique has undergone various changes throughout the years. New materials were added, creating unique juxtapositions. Unusually shaped gourds, round pieces of colored glass, and, in later stages, even an artificial eye, were all incorporated in his works. Yair took total artistic freedom pushing ceramic sculpture to absolutely new grounds.
In the 1980's, he exhibited a samurai figure, wounded in battle, lifting his hand to his wounded eye – a prophetic sculpture: Yair was hit by a hand grenade in war and lost an eye. Yair managed to overcome this serious injury and continues working three-dimensionally. It took a lot of inner strength to get back to the routine of an artist's discipline; the full artistic expression, and rich and colorful vividness typical of his practice.
2008 EOAF (Europen Outsider Art Fair)
National Library Wien
About The artist - part 2
Levy's artistic development is self-evident. His works change from exhibition to exhibition; new materials are added to his works making them richer. Daring to mix different materials creates originality and uniqueness that becomes his trade mark. The way he approaches his creations is exceptional. Sculpture starts from the base. Levy, on the other hand, starts from above - reasoning that the artistic impetus comes from higher places - he continues to the middle, and only at the end, finishes the lower part - the connection to the ground; the stabilization of his statue.
He makes no fuss when one of his statues break as it only grist for changes that have to be made in that piece of art. He takes parts of the initial work, rearranges them, adds and subtracts so that only a patient spectator who follows all the processes can identify its prior origin The statue changes direction, a new work is created out of the defected one – a new creation. His works are archeological; layers of information are hidden in his works, visual information that touches his personal history and his socio-cultural background. Careful observation is needed to decipher the intimate and social codes in his statues.
Extensive world-traveling, long stays in different places, absorption of local culture - adopting and processing it - enriches his works। A spiritual atmosphere engulfs Levy's creations, from the ornamentation through their push upward – identical to man's striving for the sublime. With his unique blending of all religions, his particular insight of the human existence vis a vis the cosmic existence, he creates temples of insight -temples of faith - that succeed to combine the essence of various religions and find a common ground.
The richness of the statues is a product of the artist's mental inner-richness, his insight and beliefs. The artistic freedom he allows himself frees him from the constraints of a particular school. His personal uniqueness has come to full expression and in recent years his art reaches a spiritual catharsis that transgresses the limitations of the material allowing him to create his world anew., Tel Aviv, 2008
National Library Wien
2007 Hanita Museum,Israel
The Archeological,History and Modern art
About The artist - part 2
Levy's artistic development is self-evident. His works change from exhibition to exhibition; new materials are added to his works making them richer. Daring to mix different materials creates originality and uniqueness that becomes his trade mark. The way he approaches his creations is exceptional. Sculpture starts from the base. Levy, on the other hand, starts from above - reasoning that the artistic impetus comes from higher places - he continues to the middle, and only at the end, finishes the lower part - the connection to the ground; the stabilization of his statue.
He makes no fuss when one of his statues break as it only grist for changes that have to be made in that piece of art. He takes parts of the initial work, rearranges them, adds and subtracts so that only a patient spectator who follows all the processes can identify its prior origin The statue changes direction, a new work is created out of the defected one – a new creation. His works are archeological; layers of information are hidden in his works, visual information that touches his personal history and his socio-cultural background. Careful observation is needed to decipher the intimate and social codes in his statues.
Extensive world-traveling, long stays in different places, absorption of local culture - adopting and processing it - enriches his works। A spiritual atmosphere engulfs Levy's creations, from the ornamentation through their push upward – identical to man's striving for the sublime. With his unique blending of all religions, his particular insight of the human existence vis a vis the cosmic existence, he creates temples of insight -temples of faith - that succeed to combine the essence of various religions and find a common ground.
The richness of the statues is a product of the artist's mental inner-richness, his insight and beliefs. The artistic freedom he allows himself frees him from the constraints of a particular school. His personal uniqueness has come to full expression and in recent years his art reaches a spiritual catharsis that transgresses the limitations of the material allowing him to create his world anew., Tel Aviv, 2008
Monday, April 14, 2008
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