Visiting Artist: MEITAL-KATZ MINERBO
Currently represented at the Gallery Apart, Meital-Katz Minerbo is an Israeli artist (born 1974) raised and educated in Venezuela and now based in Rome. In her lecture, Minerbo discusses her fascination with anthropomorphic forms– rooted from medieval literature and mythology of the 19th century, and also, in the contemporary world of design: from the estranged forms found in nature (bodily error, genetic mutation, asymmetry) to even– the irony of man-made materials, such as furniture which displaces parts of the body as architectural elements of invented design.
As a “faithful” painter, Minerbo discusses the importance of her technique and practice as a conceptual process: one which purposely aligns with the background of the content in her work. Just as with her fascination in the deconstructed form of the body as being dysmorphic, she clarifies her research and practice as a psuedo-science: such as encapsulating the ‘quasi fields’ of parapsychology and spiritism. For example, by using industrial lacquer and spray paint on impermeable surfaces, she allows the paint to harden on its own rather than to be physically applied with the paint brush. As a result, the paint reacts with strong dilutents, in what she describes to be a “life or death situation”: an experiment within itself, as is the consequence of the beings portrayed in her bodies of work.
My particular fascination with Minerbo’s work is in paralleling her process of research, content, and artistic practice so concretely. The way she solidifies her interest in experimentation as a biomorphic form, and vice versa, extracts a type of visualisation which can perplex the viewer, in one perspective, almost as a series of jarring medical documentations (human, botanic, veterinary) and in another, as a personification and scrutinisation of humanised industrialation through the role of object. For example, the medieval chair which possesses the leg of a lion and blankets the symbolism of the detached leg (which still stands strongly and can even humanise mechanic forms). Although her technique of painting vilifes both her research and content, I still wonder to what extent her work would evolve if she approached the same concept three-dimensionally. When asked, Minerbo responded that painting is crucial to her work because the history of painting itself, “refuses to die, but is not entirely alive…” much like her own work.