Burrowing – Creative Lab residency, 2020

This is a collaborative project with artist Cameron Orr. We have been practising shamanic meditation using drumming techniques popularised by anthropologist Michael Harner. We have been using this method to inform and develop our work – specifically in the creation of collaborative paintings and music.

While on residency at The CCA, we experimented with music and sound – drawing inspiration from shamanic drumming sequences and creating our own contemporary interpretations. We created functional meditative tools using synthesizers, electronics and non-traditional instruments.

Throughout the residency, we hosted participatory sessions of sound meditation. The sessions lasted around one hour and a half and involved a private viewing of the works-in-progress, an introductory explanation of the project, and finally a guided shamanic meditation session. Participants listened to the audio sequence we made with their eyes closed and were given a set of guides to use in their journey. At the end, they were given the option to draw or write about their experience and discuss those with us.

The sculptures were made by me and were installed to serve as guardians to protect the participants and us during the shamanic journey.

 

Installation view, CCA Creative Lab


Installation view, CCA Creative Lab


Installation view– recording studio


Journey #3, collaborative painting with Cameron Orr, 150 x 127 cm


Detail


Journey #1, collaborative painting with Cameron Orr, 150 x 127 cm


Journey #2, collaborative painting with Cameron Orr, 150 x 127 cm


Detail


Tempest, collaborative painting with Cameron Orr, 150 x 127 cm


Flower storm, collaborative painting with Cameron Orr, 150 x 127 cm


Gurdian – Apu – Mountain spirit, Ceramic, 70 x 40 x 30 cm


Gurdian – Apu – Mountain spirit, Ceramic, 70 x 40 x 30 cm


Guardian, Ceramic, 60 x 30 cm


Guardian – Shaman sausage man, Metal, Rubber, 220 x 60 cm


Detail


Guardian, wood, 40 x 20 x 4 cm


Guardians – Candle snakes, wax


Collaborative scroll of participants after doing the sound shamanic meditation


Collaborative scroll of participants after doing the sound shamanic meditation


Untitled, collaborative Drawing with Cameron Orr, 72 x 50 cm


Achterhaus, 2020

For my residency at the Achterhaus I decided to take a playful approach and take the time to explore Hamburg and get inspired by it.
A week after I arrived I decided to contact Esmeralda Rosenberg – a well-known local fortune teller and ask her what should I do with my time at the residency. I wanted to see what could come out of this experience of going to her and hear her projections about my future.
The work below( sculptural objects, lithography and woodcut prints) are inspired by our meeting.


Sausage man, styrofoam, wood, plasticine, 70 x 60 cm


Untitled, styrofoam, wood, candles, plasticine, 70 x 60 cm


Preparation drawing


Candle man, woodcut, 50 x 40 cm


Untitled, wood, wool, shoes, 183 x 50 cm





Untitled, woodcut, 50 x 35 cm


Untitled, styrofoam, spray paint, 150 x 60 cm





Portal, 2020

As part of my recent residency in Peru, I worked with anthropologist Dario Astengo to connect me to Don Humberto Soncco Quispe and Guillermo Soncco Apaza, esteemed “Paqos”- spiritual leaders from the Q’eros Andean community. I asked them to conduct a ceremony to bless the clay I was planning to work with. They led a Despacho ceremony, based on the concept of Ayni (=reciprocity)- sharing one’s gifts and energy with nature.
Later, I used the blessed clay in its liquid form to create a large scale wall print of an Inca gate. In the Incan tradition, the gate represents a portal to the spirit world.

As part of this installation, I created a video work called T’uru which means mud in Quechua. This video work accompanies the installation and documents the process of the Despacho ceremony.

 

 

Portal, Blessed clay, 380 x 250 cm

 

 

 

 

 

T’uru (18:10)

 

T’uru, still from video (18:10)

 

 

 

 

 

 

 

Durga, 2019

Goddess Durga symbolizes the divine forces (positive energy) known as divine shakti (feminine energy/ power), that is used against the negative forces of evil and wickedness.

Durga is a commissioned sculpture that was exhibited as part of Kraut Kunstfestival Lucerne.

 

Durga, Modular metal sculpture, Ceramic, Wood, Aluminum, Bronze, Straw, Plant, 250 x 300 x 180 cm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Advantages of Poisonous Plants, 2019

Press release :

Zaratan – Contemporary Art is pleased to announce the opening of “The Advantages of Poisonous Plants”, a solo exhibition by Roi Carmeli, which presents a series of new works produced during his residency in Lisbon.
Carmeli proposes an ironic interpretation of the myth of Adam and Eve, highlighting the complex relationships between the innate material properties of symbols and their meanings in the contemporary world.

His residency at Zaratan was supported by Creative Scotland.

Text by Gemma Norris

 

 

Totem (An Ode to Adam & Eve), Collaboration with Tom Krasny, Plaster casting, 150 x 52 x 42 cm

 

 

 

 

 

Mother of All Snakes, Ceramic, Paint (tile panels mounted on wood), 70 x 50 cm

 

>|<(^)_-, Engraved plaster, Paint, 30 x 24 cm

 

 

 

Bacalhau, Glazed ceramic (tile panels mounted on wood), 66 x 34 x 40 cm

 

 

 

Adam&Eve, Found object, bent candles, time-specific duration, 43 x 36 x 40 cm

Guardians (in progress), Handmade candles, Site-specific dimensions and time-specific duration

 

 

 

 

 

 

 

 

 

Untitled, Fan, DC motor, wood, marker on wall, site-specific dimensions

 

 

 

 

 

 

 

Apple, Video HD, 1 channel, colour/sound, duration: 12 sec(loop),

 

Apple, Video HD, 1 channel, colour/sound, duration: 12 sec(loop), site-specific under the floor of the gallery

 

Hibernation, 2018

Hibernation is a collaborative project with Tom Krasny as part of our residency at Tenjinyama Art Studio in Sapporo, Japan.

The sculpture is a dual self-portrait of us getting eaten by a bear, which was conceived to relieve the tension created from constantly hearing bear references on one hand, and not encountering any bears in reality, on the other. Bears can pose a very real threat even in urban territories, perhaps due to food shortages in their natural habitats.
There are a lot of pop culture icons feeding on bear mythologies.
Additionally, The Ainu, Japan’s indigenous people, worship bears but also sacrifice them in a ceremony called “Iyomante“.
There was a kinetic element in the exhibition, ringing a “bear bell”, which the locals carry to alert the bear to go away when they travel in nature. The prints are made using only plants from Tenjinyama park, iron powder and mixed with water from lake Akan which is a spiritual place for the Ainu people.

 

 

Self-dual portrait getting eaten by a bear, Wood, wire, paper, fabric, bamboo, 200 x 90 x 70 cm

 

kinetic sound sculpture

 

 

 

 

 

Untitled, Eco prints, 200 x 90 cm

 

 

 

 

 

Untitled, Eco-print, 50 x 40 cm

 

 

 

Untitled, Eco prints on fabric, 100 x 90 cm

 

 

 

 

 

 

 

 

 

 

 

 

Beacon 2.0, 2018

Beacon 2.0 is a neon-sound installation commissioned by Mekudesht Festival for contemporary Art and Music, Jerusalem. The installation draws inspiration from ancient fire beacons and their historical use for signalling, whether imploring for help, or declaring a victory. Beacon 2.0 suggests a contemporary interpretation of this old-world way of communication and looks to capture the chaotic movement of burning fire in digital means.

Roi Carmeli, 2018

 

Beacon 2.0, Neon and sound Installation, 200 x 120 x 120 cm

 

 

 

 

 

 

 

Holy Wave, 2018

Holy Wave is a group exhibition curated by Roi Carmeli, with work by Ayelet Ben-Dor, Jedrzej Cichosz, Uist Corrigan, Roi Carmeli, Judith Leupi, Jonny Lyons, Tom Krasny, Tim Sandys and Alex Stursberg.

Part of Glasgow international across the city programme: http://glasgowinternational.org/events/roi-crameli-tom-krasny-jedrzej-cichosz-tim-sandys/

Holy Wave touches on the connection between art and ritual; a connection which is less obvious today, as art becomes increasingly self-reflective, and religious rituals abide by rules stemming from years of unchanged worship. It remains essential, however, in understanding art’s role in contemporary society and spiritual life. The artists view the art object as charged with power; a combination of intention and action; of emotions and thoughts that cannot be separated from material and labour.

 

 

Four Legged Island, PVC tubes, Foam, chicken wire, foam, fabric,  240x160×160 cm

 

 

 

Self-portrait as a migrant bird, Metal,  car body filler, cardboard, resin, fabric, graphite, 183x 110×60 cm

 

 

 

 

 

Skara Brae at twilight, Ceramic, Candles, 130x160x70 cm

 

 

 

 

 

Earthly Delights, work by Jedrzej Cichosz, 400x 600 cm

 

Orgel, work by Judith Leupi, 240×120 cm

 

Gatekeeper, work by Tom Krasny, 120×90 cm

 

Dialling Tone, work by Jonny Lyons

 

Vessel (3 of 5), work by Alex Stursberg, 90x30x30 cm

 

God of Health and Safety, work by Tim Sandys, 190X200X100

 

Animal Magic, work by Ayelet Ben-Dor

 

Installation view

Don’t forget to bring me back, 2017

Mr.4 Legs, Ceramic, 60X25X8 cm

 

 

 

 

 

 

 

Mr.3 heads, Ceramic, 60X20X20 cm

 

 

 

 

 

Untitled, Ceramic, 62X30X25 cm

 

 

 

No where to run, Ceramic , 65X65X8 cm

 

 

 

 

 

Pig, Ceramic, 60x20x20 cm

 

 

 

Installation view, Watercolors, Ink

 

Mask, bark, plexiglass, wax, Rope, 40×20 cm

 

Mask, Ceramic, 40×20 cm

 

 

 

 

 

 

 

 

 

Installation view

 

 

This is not a mask, 2016

Installation view, Ceramic, wood, watercolors, Graphite

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Cave drawing, Watercolors, Graphite, 84 x 59 cm

 

Cave drawing, Watercolors, Graphite, 84 x 59 cm

 

Cave drawing, Watercolors, Graphite, 84 x 59 cm

 

 

Cave drawings, Watercolors, Graphite, 42 x 30 cm

 

Cave drawings, Watercolors, Graphite, 42 x 30 cm

 

Cave drawings, Watercolors, Graphite, 42 x 30 cm

 

Cave drawing, Watercolors, Graphite, 84 x 59 cm

 

 

 

It’s better to sweat than cry, 2015

Installation view, Graphite on wood

 

Wood cuts prints

 

 

 

Installation view

 

This is not a mask, Sound installation documentation

 

This is not a mask, Sound installation, Wood, Graphite, Water solenoids, Micro controller

 

 

 

Beer Aboulafia, 2014

In this project I curated an exhibition on a beer bottles and after made an event to lunch the beer I had brewed.
The exhibition includes 50 different artists that made the labels for the beer.

 

 

 

 

 

 

 

 

 

 

 

 

 

Beer opener

 

Beer Aboulafia commercial , many thanks to Dor Fadlon, Tom Krasny, Boaz Debby and Uriel Hartov.
Music by Zohar Shafir and Alex Drool.

 

                 

Uriel hartov                                                                                                                                      Sharon Fadida

Irad Lee

Yosi Asulin

Itay Sandovsky

Sahar Mor

Dudi Malka

Avi Nevo

Audri Collins

Michal Makaresco                                                                                                      Dan Schmahl

Oded Vertash

Experiment.1 , 2013

Kinetic sculpture, mixed media, 140x80x60 cm. Collaboration with Tom Krasny

Experiment N.7, 2013

Installation view, speakers, Glass, Feathers, Micro controller

 

 

 

 

 

 

 

 

 

 

Black Music, 2012

Black music, Sound installation, 120x100x25

 

 

 

 

 

 

 

 

One game only, 2010

Shot with Phantom HD 1000-1500 frame per sec

 

Bowling shoes, 2010, Glass casting