BETWEEN MADONNA AND VENUS

In her works IDITH LEVY introduces evidence for the eternal transformation of the changing as well as the concurrent existence of female identities.

Square formats over the black background, which is utilized as a neutral foundation, are made of predominantly recycled materials from the available environment of home.
The works cross through private well public layers. The personal exposure draws a very clear path to the growing cycles of the mainly feminine image which is almost an obsessive enquiry of the women’s status.

What is femininity or does it even exist? Can feminism be defined?
There is no decisive answer, only intellectual debate, which takes place in parallel lines toward actual changes and tireless striving to understand, not to define.
Arabesque of layers belonging to memories and collective relatedness in the figure of Venus, Madonna and crosses as well as layers which lead to intimate exposure of the artist, create dialogue between in and out, reality and imagination, legitimate and forbidden, are all derived from the complexity of her internal world.

The works reflect clarity and purity despite the intensity and variety of discarded materials that actually are tiny objects piled together on relatively small formats. The black compositions do not inspire the theatrical or the dramatic, although the directed actions of assembling and disassembling figures and feminine images, partially presented in ornamental frames while other frames are toughly closing all around, surely do.

Perhaps, in this meeting point of the sealed black formats, ancient matches of goddess earth and profound womanly mother, holy Madonna and the worldly woman Venus, are the performances that reinvent themselves each time in a new shape.

Is it possible that, fundamentally, nothing has been changed?

Sigal Ronen