Parable / Wislawa Szymborska.

Parable

Some fishermen pulled a bottle from the deep. It held a piece of paper,

with these words: “Somebody save me! I’m here. The ocean cast me on this desert island.

I am standing on the shore waiting for help. Hurry! I’m here!”
 
“There’s no date. I bet it’s already too late anyway.

It could have been floating for years,” the first fisherman said.
 
“And he doesn’t say where. It’s not even clear which ocean,” the second fisherman said.
 
“It’s not too late, or too far. The island Here is everywhere,” the third fisherman said.

They all felt awkward. No one spoke. That’s how it goes with universal truths.


~ Wislawa Szymborska ~

(Poems New and Collected 1957-1997, trans. S. Baranczak and C. Cavanagh)

Proportions

Some proportions
Relative terms

When the train is late

When the train is late

Another month, another year

Another month, another year

TALK!

Butterflies
Without title
Heart and mind
Where it hurts

Why We Are Living in a Post-Truth Era

An article published in Skeptic Magazine, dealing with the characteristics of of our time, the faith of truth, or the end of it.

I chose to illustrate the challenge of truth, along the lines of the claim: ‘one says its day, the other says its night’. I casted the most visibly light-responsive character: the sunflower, seen as it raises its head to follow the moon. In the other illustration, it lowers its head, when the interrogators are trying to extract the truth out of it.

Day and night
Telling the truth

Intimacy, 2018-19

On two occasions, between 2018 and 2019, I had the privilege of working on a series of etching at the The Gottesman Etching Center in Kabri, a kibbutz in the north of Israel.

There, together with a master printer, in two rounds of three days each, I have visited and explored the nature of intimacy – an uncontainable substance, shared between one and his very self, and with ones’ other.

In what I consider to be a daring exploration, I have commissioned myself this series of etching, not knowing the individual theme of each and every one of them, but the common one: intimacy.

The prints are on show until Saturday, 30th November, at the Jaffa Museum.

Tayelet Mifratz Shlomo 10. Jaffa-Tel Aviv.

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19 

Elections-The crying game

Elections The crying game

Elections The crying game

In two days, us, Israelies will cast our vote, in yet again, decisive general elections. the results of which will shape the faith of this country between the great divides: secular and messianic religious, Arabs and Jews, rich and poor, and all other arenas in which the main stage is occupied by fierce inner conflict within the buoyant Israeli society.

To cite a conclusive phrase from a good friend of mine: Let’s hope for the best, yet prepare for the inevitable, hence the tissues.

 

 

the War of Attrition ההתשה (‘Hatasha’ in Hebrew)

A split gallop

Gallop

Gallop

It was when I finished and sent the illustration above, for Shlomo Artzi’s column, that I remembered a drawing I did for my dear friend, Amir way back in 2014, here below:

a split gallop

a split gallop

Déjà vu

Déjà vu

Déjà vu

From Shlomo Artzi’s weekly column in Yedioth Acharonot.