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Sowing History

September 1-14, 2020 at The Alliance Française, Toronto

 

Gabrielle Israelievitch’s photographs are not about capturing a part of reality in the outer world, but rather about revealing through an image what the inner eye can see. Each of these five bodies of work by the artist creates its own revelatory space with its own emotional impact, while remaining deeply related to and interwoven with the other four. Together they are a multi-layered conversation between the grounded and the ephemeral, the inner and the outer, between movement and light.  

Portals & Blocks is a series that works with collaged windows and doors, evocative colours and spaces, an architecture of the mind and the soul.  The photographs are in no way prescriptive; to the contrary, they invite the viewer to enter and wander, led by their own stories and feelings.  With almost no people in the images, we immediately intuit that these photographs are about the self and how we see, imagine and remember.   

The series titled Vessels incorporates these most beautiful objects into settings that transport the viewer to experiential realms which are abstract. The pots themselves are grounding, something to hold in one’s hands, while the images are often floating, not anchored by a definable horizon. These works are meditative, ghost like, filled with existential questions and with light. 

Wounded, a series that has emerged from the artist’s practice as a psychotherapist, offers works that look into the dark corners of human experience. They allude to the secrets and excessive emotional weight that some of us have to carry. In many instances the photographs are frightening, ominous, other worldly, sad, allowing us to sense the places these young lives have been forced to inhabit.  

Wrinkle in Time is a photographic composition that addresses questions of time and movement. The four photographs incorporate the blue sky on the far side of a skylight, the edge of the window looking out and the eye- or sun-like red dot of Adolph Gottlieb’s paintings. The richly symbolic quality of each of these elements lifts us out of our quotidian perspectives, inviting us to refocus our gaze.    

In Celluloid Quilts, patchworks of randomly sewn together 35mm film strips, the artist recasts herself, her family and life within entirely new contexts. The individual images fade into the whole, allowing them to become screens unto the world, or to be read in any sequence or direction the viewer might choose, thus liberating them from their original time and place. These historical fragments have become delicate architectural structures that function as evolved portals looking inside or out.

— Doina Popescu, Founding Director, RYERSON IMAGE CENTRE, Ryerson University, Toronto, Canada