'Self portrait dyptich II', 2021
Oil on paper
Tell us about yourself.
My name is Gal, born in 1997. I work in several plastic disciplines. Having previously trained in dance, I also love to act and perform. I studied a foundation course at Central Saint Martins, and attended The Art Students League of New York where I honed in on wax sculpting and copper plate etching. I am currently continuing my visual arts studies at Haneviim School of Art in Haifa.
Where did your passion for art begin?
It actually began through fashion. Finding out about and becoming obsessed with everything to do with designer clothes at around age 12, I began to train my hand by drawing croquis. I would come home from school everyday to look through online archives for hours and draw countless clothing sketches. After a couple years of this, I diverged from fashion sketching and shifted my focus, exploring new practices, different approaches and mediums.
How would you describe your work to someone?
So far, most of my work is done by observing, translating what I see onto paper or into form. In this process, whatever I observe mutates, shapeshifts into something other than itself. I’m drawn to organic, singular shapes like stones, and my characters often appear as such melted, sort of liquefied, or resurrected figures.
What are you currently working on?
I’m working on a group of monster-type figures, sculptures, in clay, plaster and wax. These are very dear to me. I’m currently sketching and collecting information for some larger ones I have in mind. Otherwise, on paper, I have varying studies in different stages of progress. My first group show, where I have 5 pieces on view, is nearing its end. It’s been tougher than usual to produce new work while the exhibition is taking place. Sharing my work in general is a new thing, and I hope to continue to do so in ways that feel genuine and intentional.
Oil pasteles on paper
When you start a new work or project, do you plan what you’re going to create or do you improvise?
I’m allergic to thinking in a conceptual way, so I begin right away with sketching or molding. I take caution with planning because don’t want to develop any stringent expectations. I do need some foundation to lean on, so I like to use different kinds of limitations as aids; by only using a certain pace or timing myself for example, I can experiment more freely within those rules. When I find what it is that actually interests me, I’ll proceed working on its variations, remaining open to different potential outcomes.
Can you highlight some of your influences and discuss how your influences have made an impact on you and your practice?
There are honestly so many. A primary one is archeology. I love the idea of things buried deep underground being unearthed and dusted off. A precious preservation of the dead. Ancient beings, but also future, imaginary ones. The impact, although not conscious, is aesthetically evident.
'Self portrait dyptich', 2021
Oil on paper
What are your plans for the remainder of this year?
Bigger scales. For so long I’ve worked on small, if not miniature dimensions, and I’m becoming more comfortable with expanding. I imagine this will continue to go back and forth, but right now I’m excited about my brand new level of comfort with larger scales.