Before, again and after. Studio visit

by designspace | 27.02.13

A studio visit is an intimate event; you experience the artist’s way of work. In an age where objects have become so disposable and last year’s products are often characterized as obsolete, it’s rare to find someone like Yaara Zach who still firmly believes in the basics of an object. We visited her studio in south Tel Aviv to discover her world. Yaara Zach lives and work in Tel Aviv, she studied at the Bezalel Academy of Art.

Much of Yaara’s work deal with body and space: personnal situations happening in public spaces, the frontier of two separate identities. She chooses her objects related to spaces and its borders, intermediate territory, or to the membrane that isolates the body from the surroundings (hospital, kibbutz, army etc).

Manipulation of deconstruction and reconstruction on the object changes its meaning, its form and context, Yaara is reshaping/rethinking the object, context, display, and most importantly their relationship to the body.

She is into the fields of sculpture and installation where objects are carefully arranged and reworked. All elements of her artwork are equally important and tend to work together. Her approach is experimental and starts intuitively.

“I am interested in their potential (referring to parts of the object) to undergo change, to be activated, dismantled, or assembled. Some of the works were created from thinking about the passion of things existing as similar or different units to connect, to become whole, and to be capable of rolling, folding, piling, becoming efficient, being relocated when required, adapting themselves to new situations, to a changing reality, to survive in a new territory by adopting qualities that are “solutions”.”

Yaara’s work is characterized by its capacity to create a tension between the conflictual and the marvelous with unexpected juxtapositions. Her fragmentary combinations of elements are poetic, they experiment notions of presence and absence, which consists of becoming aware of reality through unreality.

“I always pay attention to objects that I use so that they won’t be design “par excellence” but objects of everyday use. Most of my works are either using ready made, and if not they try to simulate that they are.“

My Uncle Is a Sailor. 2012, floats and velvet, variable dimensions.

Beckett, Caesar Stone, 60*40*4 cm, (in a shout), table, binocular, matchbox and velvet, 80*60*65 cm. 2012.

The small totem on the left side is coming from her mother, the only piece she can’t rework.

The Human Body.



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