ELINOR ZAROUR SHALEV
Portfolio תיק עבודות

Swarm of dead jellyfish. Mixed media 120X60 cm, Photography 60X80 cm.
The fence between us. Photography 40X60 cm הגדר ביני ובינך
The fence between us. Photography 40X60 cm הגדר ביני ובינך
The fence between us. Photography 40X60 cm הגדר ביני ובינך
The broken dream. Photography החלון(ם) ושברו
De-construction of a woman. Nail and inkwell, watercolor on cotton paper, 23X29 cm

Can't you see?? Mixed media. 30X40 cm
Can’t you see??/ Seeing is believing! / Just watch/ Take a look/ Who’s looking? / What are you looking at? /Watch me/ See too!
This work reflects what I feel and think of the world in light of and after October 7th, 2023. It deals with how world community sees me and my nation. As a raw material for this work, I used around 400 eye photos of living people all around the world, excluding Israelis. The eyes were placed on the substrate in a disoriented manner to reflect the perverted support the horrifying terror attacks receive globally. Israel is completely transparent for these eyes supporting brutality executed against my friends who were burned, beheaded, raped, murdered, and kidnapped. As a woman, I especially point at the hypocrite global women organizations who never condemned these actions. The drawn eye in the middle of the work is inspired by the Medusa look of the 1618 painting of P.P Rubens ‘The decapitated head of Medusa’. The rape of Medusa was perceived as HER sin. Medusa has a startled, disgusted and a terrified expression on her face. This expression is my own 'decapitated head’, carrying the sin of ‘the monster rapist murderer’ when I witness the demonstrations and support of the western world to terror, Nazism, lies and barbarism. This directly relates to Lacan perception of cognition shaped by the other, and Merleau-Ponty complimented with “The subject does not simply see the world, but the world shows itself."[1]
[1] Maurice Merleau-Ponty, Le visible et I'invisible, Gallimard, Paris, 1964, p.23.







