Sculptures & Installations


 Installation:  Unstill Life 2007

 The Unstill Life installation has been exhibited on August 2007 as part of an annual exhibition taken place at the Beit Berl College of Art in Israel.

The installation is made of tens of transparent plastic boxes, filled with various food products (i.e. vegetable, fruit, meat etc.), and arranged on and around two long tables made of wood.

Each plastic box contains a single and different sort of food in a specific combination of colors and structure. Each box is an image, a universe, by itself but also part of the large image. 

The food was placed inside the boxes while it was fresh, with lively colors. As time passed it began to ripen and latter to rotten, decay, and decompose,  changing its colors and structure during the process until the end when all the colors are gone and all the structures collapse. 

A different image is perceived at different times; At first glance, and from a distance, the installation looks like a colorful uniform structure but getting closer one sees its fractal nature as well as its complexity and the morbid influence of time and nature.
Each box is a universe of its own and together they form a live and dynamic image moving towards its destruction, echoing back to the Vanitas art of the 16th and 17th century.

 PeepShaw 2006

This work is about peeking; glancing, watching through and invading privacy, a subject which attracts me and I enquire in my work for a long time.

At first glance one sees just a white wall. Looking more carefully reveals three tiny holes in the wall which invite peeking through. Each hole leads to a different view:
A full size person made of polystyrene foam which is also peeking through a curtain which is hiding something. 
A TV screen showing peephole movies (peeking at neighbors, showers etc.)
A mirror reflecting the eye of the beholder (although it takes time to conceive it)
Once you start watching you enter a circle of glancing peeking and restlessness.

 Window Installation -2008

"Objects presented in a display window usually imply other activities that take place beyond it.
The display window serves to attract the passers- by and entice them to enter the space and there to deliver the merchandise either material or cultural.
In Michal Yaffe's case a strange thing happens: The display window is apparently an extension of the public space in front of it, i.e. the street. The street scene, with all its noises, enters the gallery. It ceases to be a protected, "cultural" space, but instead becomes a part of the urban polyphony. With materials from the street (cartons and boxes) and street wisdom Michal Yaffe builds a kind of an alternative, mini-size distorted city. 
Boxes and objects are placed, one on top of the other. The images of people appearing on some of them are too big, windows are opened and they are too small. Objects are placed on top of the structures and the building becomes a table, the exterior becomes interior.
Like in a circus, this is a distorted reflection of the city where Michal Yaffe grew-up and lives, and it is exhibited in her work in a live and vivid manner. Michal Yaffe's city is at the same time ugly and beautiful, disciplined (by the grid) and diffused, stressful yet breathing.
The flat display window receives volume by both the multitude of structures and the nature of the work that uses the materials to raise questions on flatness.
This is the first exhibition of a young talented artist, a graduate of the Beit Berl College of Art."
Anat Betzer