Sunday, November 20, 2011

A Diasporic Reflection on Land and Water



Photo by
Dinah deSpenza
Influenced by Shamanism, Jazz, the Graphic School of NY, Dada and Gutenberg's moveable type, multi-disciplinary media artist and CSUEB alumna, Rozita Fogelman makes waves at Oakland’s FLOAT Gallery this fall.
Using the elements of earth, land, and water, Fogelman, maps water histories with art as she presents – a visual history of water, land and people at the FLOAT Gallery.
FLOAT, an urban art spa is the only floatation center art gallery in the San Francisco Bay Area.
“In Hebrew, ומים אדמה ,דם ,אדם  adam, dam, adama and maiem; translated as human, blood, land and water – all share the same root. My series, Body, Land and Water is my attempt to create a space addressing the need to reconnect the link between art, language, people, land and water. I want to create a connection between the past collective ideas and the archetypal symbols and our current culture, a grounding place where one can reconnect with the original concept and structure of balance,” says Fogelman.
Grace Munakata, Professor of Pictorial Art at CSUEB says, “Rozita believes the distractions of our multi-tasking culture need balance, and hopes to create a quiet, interactive space where viewers can respond to the artwork in a meditative manner, perhaps reminding us of our actual connection and dependence on elements of earth and water, and of our collective consciousness as a society.”
“Such a feast for the eyes.  Her work is beautiful, says Jan Martinez, Administrative Support Coordinator, CSUEB Art Department.
 “Absolutely stunning, I love it,” says Raquel Arcia, Graduate Coordinate of CSUEB Multimedia Department.
Having pioneered a unique Interdisciplinary Master program between the Multimedia, Communications and Art Studio practice, Fogelman earned her M.A. in Multimedia Disciplinary Media Arts in spring of 2011.
Originally from Tbilisi, Georgia, the Russian born artist sees visual communication as her first language out of five.
Her life long diasporic journey between her dislocated identities was the driving force of her fascination to express through art.
As a feminist, her life long dedication to create art professionally came from a need for free speech and expression.
“In Russia, my family suffered from violent outbreaks of anti-Semitism. I witnessed many of the events of Jews being attacked. In 1969, when I was 5 years old, the Russian KGB arrested my father, sentencing him for five-years in a Siberia jail. The agony of the trip to visit him in a jail in 1971 will remain with me forever. After the rumors spread about my father being sent away, I fell victim to assault and was abused by the neighborhood children. My early childhood was plagued with fear, betrayal and insecurity,” says Fogelman.
According to Samuel Beckett, one of the most influential writers of the 20th century, “The fundamental tension between human frailty and the expressive instinct of human culture has never kept humans from seeking refuge in art and turning to it to try to comprehend tragedy.” 
In 1975, her family left Russia immigrating to Israel, and settled down in the mountains of Jerusalem, Mevaseret Zion.
In Jerusalem she studied Hebrew for the first time, and got close to the multi-cultural dynamic under an intense religious backdrop.
Land and water represented a source of regeneration of the physical body for Fogelman.
“A year after my family graduated from the Hebrew Ulpan in Mevaseret Zion, we moved to the city of Bat-Yam, located on the Mediterranean Sea on the central coastal strip, just south of Tel Aviv Jaffa.
“Living by the Mediterranean Sea was healing and transforming. It was a dream come true for me,” says Fogelman.
Fogelman’s new exhibit, “Transient Spaces,” explores symbiotic dualities – change and stability.
“She is also interested in the inherent change in the appearance of the work while it is literally wet, and after each layer dries.  The work must be done on a flat surface allowing for heavy textures reminiscent of rain drenched earth worked over rhythmically with tools. 
Although she is selective about the colors she uses, their hues/contrast shift significantly when dry, a metaphor for spiritual changes and the impact of weather and time on land,” says Professor Munakata.
“Your paintings make me think, feel, and look harder at what I thought was there,” says Rosanne Harris, Academic Policies/Curriculum Coordinator at CSUEB.
Transient Spaces” opened September 11th and runs through October 29th.

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