Melt into the unseen

Periscope Design Gallery Tel Aviv, Israel 2001

Curator

Sari Paran

Day and night, the result of the solar planetary system in which we exist, have lost some of their impact on our conscience. Natural light, coming from the sun, is being replaced by other sources of light in Man’s fluorescent living environment, diminishing light’s cyclic nature and producing a monotonic living pattern devoid of the external reality.

Another source of natural light is the light emanating from flames. Since Man technologically does not need this kind of light anymore, the exhibition brings up the dilemma of whether this light source is still a viable necessity. How does this light differ from artificial light produced by electricity? How does it influence man’s mental functions? Which memory links does it create?

The “Melting into the Unseen” exhibition is divided into three layers of natural light objects. The first deals with the basic functionality of wax and oil candles. This evolutionary option has been neglected, on the assumption that this world of objects will disappear. The arena was left to decorative products which flourished in the past few years. The objects shown in this category are not intended to offer practical solutions, rather the intent is to raise poetical questions regarding the object, its practical applicability, while considering the material, manufacturing technology and the opportunities they provide. Why shouldn’t the candle offer its own solution to its placing? With some of the works candlesticks are not required, a standard light bulb thread may replace the candlestick or the traditional setup by melting or impalement.

The second layer of the exhibition deals with the aesthetic and morphological properties of this uncultivated field. A metallic rods structure which gradually looses its equilibrium as the candle melts, creates an aesthetic Neo De-Style foundation. On this same theme, metal extrusions combined in special forms create molds for the candle production and later serve as candlesticks when the candle is partly removed. The “landscape” surfaces on the floor serve as elastic molds in the candles production process. Different “pinching” of the elastic surfaces create different landscapes, and thus different molded shapes. These are attempts of analyzing the “Form Follows Functionality” concept, as a new theoretical structure which changes form, but maintains its aesthetics.

The third layer deals with natural light symbolism, as opposed to electricity light. From “Children of the Candles” to “The Illuminated Children”, light exists in the human genome, and appears as representative of the spiritual energies, with internal and external presences.

Three oblong mirrors hung from the ceiling include oil reservoirs for oil candles in their midst. To the onlooker, his image is reflected with an open crevice from which a flame burns.

Generally, the exhibition is a series of sketches, analyzing propositions and beginnings, not a definite statement. Natural, non-electric lightning, in virtue of its materialism, offers a category of new items with ever-changing dimensions, actions and reactions, centralization and magnetism. These are some of the elements embedded in the wax which makes up Melting into the Unseen.