In "Souvenir d’amitié" Adi Fluman presented a new body of works that continued her exploration of the boundaries between representation and reality. At first glance, her works appear to be three-dimensional, but in fact, they are flat prints created through the manual and Sisyphean digital "weaving" of tens of thousands of points that the artist connects to one another through 3D modelling computer software. This meticulous method she used to create her "digital tromp l’oeil," triggers the curiosity of the viewer, who often indulges in lengthy viewing sessions. In sheer contrast with the fast pace usually devoted to today’s consumption of images, especially digital images, Fluman’s work creates moments of disorienting contemplation.
The works presented in the exhibition deal with the power of material objects and their capability to convey what appears to be immaterial. The starting point of this exhibition was an object found by the artist in the collection of the RISD museum: a small wallet from the 18th century made in France by an unidentified woman for her husband as a symbol of their marital love, a customary habit of the time. Inspired by the idea of small objects carrying personal and universal feelings, often created through laborious and time-consuming crafts and artisanal techniques, Fluman appropriated images of such belongings, which are charged with supposedly intangible values, such as love, intimacy and affection.
The exhibition was part of a collaboration between three institutions in Israel – CCA Tel Aviv, The Negev Museum of Art in Be'er Sheva and The Bar David Museum for Art and Judaica in Kibbutz Baram. It was supported by Dvir Gallery Tel Aviv/Brussels.
