There are neolithic structures in the Jordanian desert known as desert kites - low stone hedges hundreds of meters long. Too low to serve any defensive or architectural purpose, they were supposedly used as a visual game trap - herds of gazelle followed the converging lines as they ran from hunters, until they got to the circular enclosure where they were killed.
I like to think of these works as doing something similar - that is, creating a perimeter through which my thoughts on representation and expression run.
***’Anostoi’, meaning ’Anti-Home-Coming', is derived from the greek Nostoi, with the prefix A added for negation. The singular form is Nostos (The Odyssey being the Nostos of odysseus for example).***
Made in Jerusalem and Italy before and after my departure, these works are a way of coming to terms with my thoughts about the old and the new places I was at, and my means of expression and representation in relation to them.
These concise assemblages of techniques and images were my attempt at constructing an artistic desert kite, making some grand formulations while I was turning away from home. Trying to separate and then clash different forms of expression, using Trompe l’œils, prints, ceramics and drawings. These auto-geographic ruminations are build as sentences, each distinct representational form is a word which gets its meaning from the overall syntax. The oil on canvas trompe l’œils (as wood in Mediterranean and marble in Messina) are juxtaposed with the satellite maps, the ink drawing (braided locks in the Levant) with the abstracted metal-flag - constructively interfering with each other and allowing me to think of the new terrains I was at.