REFLECTIONS - Choreography of Reality

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I am Vivian Sahar, a multidisciplinary artist and designer with an extensive background in visual communication and environmental design.

The first series I created in 2020 is called Reflections - Choreography of Reality

 

I create 3 dimensional objects using industrial materials and metalworking methods. Stainless steel or aluminum, laser cuts and digital printing. I fold the metal laser cuts according to the movement that I try to create. I place the metal in a translucent acrylic glass box with a back mirror, and research the effect of light, color and spatial composition on the observer and on the movement of the observer vis-à-vis the object.

 

I work with a minimalistic dictionary. A given material, grid, and same-size circular laser cuts. This framework allows to research the warmth and the cool. The movement that arises from the depth of the folding. The angle towards the rear mirror.

 

I create an aesthetic and kinetic object.  Conveying warmth or cool according to color. Creating choreography of motion that attracts the spectator using optical effects, that are visually stimulating and challenge the perception of light and material.

 

Another series of works are a tribute to the church’s stained-glass windows. The works shine with gold and an intense color scale, typical of the ancient ecclesiastical visual decorations. Sahar empties the works of their religious context, and replaces the sublimity, majesty and splendor of the house of prayer with contemporary symbols and icons, thus creating an alternative artistic reality. These are augmented by a new series of three-dimensional sculptural objects, which further explore of the tension between the visible and the hidden.

The works raises questions about the relationships between what meets the eye - the external facade, and what unfolds beneath the surface. The visible and the hidden are part of a childhood experience shrouded in a secret. The connection between a powerful emotion expressed via a minimalist dictionary of forms, gives the viewer a compelling and meaningful experience.

One of the works is a hanging triptych, made of laser-cut gilded metal plates, and repeated bends, creating a cross-shaped lattice of slits, illuminated with backlight. The technique allows a glimpse of the images of church stained-glass, and radiates reflections and games of movement and light.

A golden curtain, which consists of digitally printed metal plates, divides the exhibition space. The curtain is tempting with golden sparks and bright colors that hide human evils, passions, longings and sins. The flat artistic language empties the church image of its religious narrative, leaving it in the realms of seduction, wonder and enchantment