Landscape Sculptures | Yaakov Dorchin

When one considers the body of work that Irit Segal Israeli has accumulated over the last few years - iron pictures, outdoor landscapes, gigantic animals and trees - many qualities are evident throughout her creations, both on the thematic level, and in the art itself, the creative process.
Selecting iron as her canonical material, her insistence on creating `real' works in a world bent on virtual pastimes is certainly a primary choice - to leave the beaten track and walk through the hinterland, the neglected areas far from the main highway.
Preparing the raw material is an important part of Irit Segal Israeli's work, consisting essentially of cutting iron tubes into strips that obviously retain the radius of the original tube. That radius is always there, a permanent element in the collage of components assembled into a sculpture. Thus, a multiple movement derives from the positioning and alignment of the strips, manipulated into a new state in the sculpture.
Assembled from a wealth of iron pieces, the sculpture is, indeed, an act of creation, formed in an ongoing process of addition and subtraction, so that the completed work requires no modifications. This is work that requires constant, active, and powerful involvement.
In these representations of landscapes and animals, constant and careful attention to the biblical texts and tales is far from mere awareness. On the contrary, there is an overwhelming sense that the artist deliberately emphasizes them, and sometimes one can actually discern their presence.
The choice of an earthy, primeval material to conquer spiritual realms, to sanctify perpetual yearning is always present in Irit's works, bringing to mind two dominant images. Van Gogh's cypresses is one of them, and the other is the tree beside Rachel's Tomb, depicted on a postage stamp issued during the British Mandate.

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