Eden Lazaness / art /  Two Dimentions

Prophets of Apocalyps

Prophets are regarded as having a role in society that promotes change due to a newfound knowledge they transcribe to messages and actions (traditionally received from the supernatural or divine). In modern times the appellation prophet has been used to refer to individuals who successfully analyzed and predicted social events in different fields. The role of delivering revealing information, especially when it is questioning current way of life, is accompanied many times by persecution and oppression of the messenger. Noah, Ezekiel, Jonah and Jesus had to face hard consequences for exposing their revelations. Current information freedom fighters are found in similar position for their revelations. Criticizing faults in society have resulted in their persecution by the controlling authority. Edward Snowden, Julian Assanje, Chelsea (Bradley) Manning and Barret Brown have all been targeted for their activities.

Portraits in the Age of Enlightenment represented people. In recent times measurable means started to portrait people; size, weight, psychological and medical diagnoses... Modern portraits, in digital photos, are constructed of bytes that are data and pixels. Mass of pixels builds the photo while a single pixel does not stand on its own. The figures in "Prophets of Apocalypse" are represented by portraits constructed of measurements. A graphic paper (a measurements tool) becomes a grid of pixels that compose the image. Traditional use of ink on paper is standing in contrast to the pixelate look and the digital (virtual) theme of data.

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Barret Brown

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Barret Brown - close up

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Chelsea Bradley Manning

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Chelsea Bradley Manning - close up

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Edward Snowden

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Edward Snowden - close up

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Julian Aasanje

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

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Julian Aasanje - close up

2014, series of 4 drawings, pen on graphic paper, A1 (59.4x84.1 cm) each.

masScriptures

Text scriptures play a central role in regulating a social structure within a society. Whether it be a governing body or an omnipresence being, those scriptures contain rules and boundaries the controlling authority dictates to the public. Modern organizations using similar texts to describe their own "Do's and Don'ts".
The bible can be seen as an extended primal version of Privacy Policy or Terms of Condition statements.
Together with accessibility to infinite knowledge, mass culture and the digital age brought also the Paradox of Information as an undesired effect. As more information is accessible than before, filtering through the mass of data is becoming harder.

The process of creating this series of works was by hand-copying text onto paper as a digital scanner; line after line, from top to bottom. When the paper becomes full a new layer of text is formed on top of the previous one. The layers gather into a mass of text, causing loss of information. The text is being emptied of its original function as readable information and becomes an image.
All texts deal with ethics and social structure. All of them are used to explain the relationship between society and ruler, user and provider, an individual and the omnipresence.

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Book of Revelation

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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Book of Revelation - close up

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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Google’s Privacy Policy

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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Google’s Privacy Policy - close up

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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Snowden’s Leaked File

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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Snowden’s Leaked File - close up

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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http://www.theguardian.com/world/2014/feb/27/gchq-nsa-webcam-images-internet-yahoo

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

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http://www.theguardian.com/world/2014/feb/27/gchq-nsa-webcam-images-internet-yahoo - close up

2014, series of 4 drawings, markers graphite and ink on paper, A1 (59.4x84.1 cm).

Stamp drawings

The Drawings were made with rubber stamp technique on paper. The image that the stamp duplicates is a date, a text or a number.

By duplicating numerous times the image that the stamp contains - the pictorial image is created on the paper, in this manner the stamp itself uses as a brush.
The stamp's duplicated image uses as a "pixel".

Borrowing the use of the stamp from its everyday functionality to art emphasizes different themes, such as: Bureaucracy, Uniformity & un-individuality, The little man - a small part of the system, Border inspection / passports, Tag that attributes objects or people to a certain group, Cyclicality - a sound that repeats like an oiled machine, Nostalgia - in a time when computers prevail.

The image that the stamp contains, and the pictorial image - between them there are varied connections of opposition/compatibility. The work of art itself is actually this connection between the two.

in addition to the stamp's duplicating technique, the drawings are made in standard formats; Sheet, half sheet, quarter sheet.
These are set formats that are produced in masses; therefore most contemporary artists use these formats - predefined.

The drawings can raise a paradox between the unique work of art, which we can notice from a distance from the work, to the repeating discourse on duplication and the lack of individuality, which we can notice from a close look of the work.

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Yesterday's Red Leather Sofa

2015, ink on paper, 65x198cm.

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Yesterday's Red Leather Sofa - close up

2015, ink on paper, 65x198cm.

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Ceci Nest Pas Une Pipe - close up

2011, ink on paper, 63.5x94 cm.

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Ceci Nest Pas Une Pipe

2011, ink on paper, 63.5x94 cm.

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Eden (self portrait)

2016, ink on paper, 100*70 cm.

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Eden (self portrait) - close up

2016, ink on paper, 100*70 cm.

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21-27 SEP 2011

2011, ink on paper, 100*70 cm.

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21-27 SEP 2011 - close up

2011, ink on paper, 100*70 cm.

Log of Me

Measurable me is what I am. Bytes of digital data, describes who I am.
The self is the trail of data left behind, like evidence in a crime scene.
Everything I write may be used against me.

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Gallery view

2014, markers graphite and ink on paper, 200x150 cm.

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Close up

2014, markers graphite and ink on paper, 200x150 cm.

We(Men)

Ten piece postcard series of well known art works which depicting women. The project came as a reaction to the wave of women exclusion in the orthodox Jewish community in Israel.
On top of violent incidents against un-modest women, their most popular action is to covering women images with black spray in public areas.

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Sandro Botticelli, The Birth of Venus

2014, series of 10, digital print on paper, A6.

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Grant Wood, American Gothic

2014, series of 10, digital print on paper, A6.

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Jean-Francois Millet, The Gleaners

2014, series of 10, digital print on paper, A6.

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Edgar Degas, The Rehearsal

2014, series of 10, digital print on paper, A6.

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Leonardo da Vinci, Mona Lisa

2014, series of 10, digital print on paper, A6.

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Jean-Auguste-Dominique Ingres, Grande Odalisque

2014, series of 10, digital print on paper, A6.

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Pablo Picasso, Woman Ironing

2014, series of 10, digital print on paper, A6.