Yael Fraiberg Atzmony

an Israeli ceramist of international renown, is recognized for the clear
lines and smooth shapes as well as soft colors that exemplify her Raku objects.

Each piece is a reflection of Aztmony’s
interpretation of the matter, object and people who guide her through the
creative process. The daughter of Holocaust survivors who arrived in pre-State
Israel on the famed Exodus
ship, Atzmony grew up in the town of Ramle.

Pool of Arches is a personal
interpretation of the objects and places of her childhood. “As a child, my
place of dreams was the underground
I understand now that the rowboat was for me a symbol of passages
and travels.” Atzmony refers to Ramle as a place of sounds and tones: church
bells ringing, call to prayer of the muezzin, and the lapping water
of her place of dreams. Influences of Ramle’s strong architecture as built
by the Turks, and the blues and golds of the town are evident in Pool
of Arches,
a reminescence of a place and a time.

The dialogue that Atzmony creates
between herself and the vessels that emerge are a clear expression of Atzmony

Time Capsules, a multi-media
installation, is composed of a series of raku-fired vessels upon which autobiographic
photographs are projected. Atzmony traveled to Lodz, Warsaw, and
Sobibor to capture her parents’ history on film. “The work combines my interpretation
of the meaning of ceramics, which relies on sentimental information and
memory of a place. Visual images interact with the shape of the vessels: the
vessels influence the screened image and the screened image changes according
to the surface of the vessel. The rounded vessels act as an active screen
to the projected images.

The photographs record stations in
my biographical journey and reflect associations with a personal and Jewish
history: Ramla, Jaffa, Lodz, Sobibor, Auschwitz, Warsaw, Tel Aviv. This list
of places is an integral part of the work. In my work the ceramics becomes
a vessel of a memory, and the place is affected by the ceramic content. The
vessels are a reflection of places.”

“Ceramics require
a calm, supportive atmosphere. As they are highly vulnerable to breakage,
a volatile location could cause breakage, often irreparable and always scarred.
Like love in a human relationship, we too are vulnerable and accidents can
destroy our relationships as well.”

Solo and Group Exhibitions

  • Kumo Museum, Seoul,
    Korea, 2000
  • Ichon Pre-Expo
    Group Guest artists Exhibition, Ichon, Korea, 2000
  • Clay 2000: The
    Biennale For Ceramics, Israel, 2000
  • Two Different
    Scenes. Ceramic Art Gallery, Sydney, Australia, 2000
  • An Unintended
    Rendezvous. Contemporary Ceramics, Ashdot Ya’acov Ichud Museum, Group Exhibition,
  • Time Capsules.
    One-person show. Traveling exhibition throughout Australia: Shepparton, Ipswich,
    Brisbane and Canberra, 1999-2000

  • Text
    by Judith Isaacson.

    Photos courtesy Yael Fraiberg Atzmony.


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