Artist: Lidia Rozanski, Argentina
In parashat Mishpatim we find the laws that regulate and organize the relationship between men, between men and women and between land and God. My interpretation points to the complex search of justice through the lens of Jewish law and to the complexity, the labyrinth, of these laws full of ambivalence and confusion. For example, “An eye for an eye, a tooth for a tooth…” (Exodus 21:24) taken literally, would lead us to a world full of blind and toothless people, but taken metaphorically we understand it as a law of compensation and equivalences. Nevertheless, is the eye of a painter valued equally to the eye of housewife?
Laws and their endless interpretations and applications are a necessary part of civil society. I decided to us the symbol of the spider web to represent the infinite possibility for interpreting the law. I chose to work with etching and embroidery. Etching, because all expression is etérea (etched) in the memory if it is not printed. And the embroidery is included in the images because the threads unite, join, intertwine and they can symbolize both expansion and entanglement. With every stitch, I dream to recover time and to break routine. The feminine tradition of weaving and embroidery not only indicate obedience to the duties imposed by traditional gender roles, but they attempt to transcend it within its limits, where women can do what they want while fulfilling their obligation. It can be said that the feminine presence resides between the threads. The tradition of embroidery becomes a memorial pray for each culture, each community, each myth. The idea is to recover creativity locked up for centuries in the domestic sphere and to dissolve the boundaries between art and practical activities.
Lidia Rozanski was born in Buenos Aires, Argentina and moved to Israel in 2001. She has a degree in architecture from the University of Buenos Aires and studied at The National School of Fine Arts and with Mirta Kupferminc, Felipe Noe, Juan Doffo and Eduardo Medicci.
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