As part of The Schneller Order Exhibition | Schneller historic compound, Jerusalem
Pigment and lacquer on perspex | 350 /350cm | 2019 | photos: Shai Halevi
The Sacher diaries
Installation as part of the exhibition "We Hereby Declare", Bat Yam Museum of art
ink and watercolors on paper | 10000/120cm | 2017 | photos: Gal Deren
Facebook company offices, Tel Aviv Israel
As part of Facebook Artist In Residency program
pigments, varnish and copper leaf on wall | 10000/220cm | 2018 | photos: Elad Sarig
Public Works, Jerusalem Hills
painting installation, Intricate Affinities: Recollections of Western Tradition in Local Contemporary Art exhibition
Petach Tikva Museum of art
Fresco on plaster walls
400x2940 cm | 2016
Meydad Eliyahu’s mural Public Works, Jerusalem Hills (“Planters’ Dance” in Hebrew) encapsulates the memory of ecclesiastic frescoes, as well as that of 20th-century public murals, especially by socialist artists who exalted the working classes. In local art history, frescoes and murals remained a secondary medium, a stepson in the Israeli canon. Murals by Yohanan Simon, Shalom Sebba, Avraham Ofek, and others garnered limited recognition. Eliyahu employs fresco to shed light on a chapter which has not become fixed in the Israeli ethos: the inception of the immigrant moshavim (agricultural settlements) in the 1950s, whose construction was often imposed on the settlers. Eliyahu refers to the traumatic experience of Malabar (Cochin) Jews in Moshav Mesilat Zion, where his parents reside. Large fresco fragments reveal vanquished-indrawn figures, mostly men, within a deconstructed, wounded landscape. The Hebrew title, which conveys naiveté alongside a hint of ritualism, was extracted from a 1953 song by Yoel Eliezer Shatil, praising the national forestation project. For the Mesilat Zion settlers, public works were the almost exclusive source of livelihood possible at the time. Eliyahu examines the repressed past at the Petach Tikva Museum of Art, in the “Mother of Settlements,” the very heart of the Israeli ethos. The fact that the work will be disassembled when the exhibition terminates pulsates in its consciousness.
curator of Intricate Affinities: Recollections of Western Tradition in Local Contemporary Art exhibition, Petach Tikva Museum of art
From The Depths (after a poem by Meir Bosak)
Historical Bosak family Twon house, Krakow, Poland
Part of Smabation, Hamiffal’s art project in the Jewish culture festival in Krakow
pigment and metal leaf on wall | 1000/200cm | 2018 | photos: Bartosz Dittmar
Part of "Empty House" collective art project in the Lorenzo-Serafin family historic house , Jerusalem
fresco, pigment and scraped color layers
Artifact exhibition, Art cube gallery, Jerusalem
Fresco fragments on plaster walls and ink on wall
The fresco installation in the Artcube gallery, like the all exhibition deals with space as a fictional archaeological site.
the fragments of fresco describe the broken landscape of the real environment of the Arabic village Beit Safafa and the nearby industrial area, a view that is a new, fictional view between catastrophe and pastoral.
Train Carriage K322
Part of "Empty House" group project, The First Station Complex, Jerusalem
chalk, ink, pigment, paint removers, manual and electric grinding, gold leaf and varnish on tin
The work, which is both action-art and a finished work at the same time, relates to the false nostalgia that exists in the shopping complex in which it was placed. Each part of the hundred years old carriage was manipulated by a different artist in the group. My action on the carriage reveals the different layers of time and with the gold leafs that were put gently on it emphasizes it’s uniqueness, distancing itself from the clean industrial look of the complex.
Heara 12, an art event by Salamanca Group, Hansen Hospital historical building, Jerusalem, Israel
oil on melamine paintings, historical items from the hospital's collection and text
The installation is combined as part of the hospital's rooms and attempts to integrate itself within the site's history. It tells the story of the child “Patient A.E”, one of many children of immigrants to Israel in the 1950s, who were claimed to be ill solely on the basis of race and origin, and forcibly taken from their families for treatments that included exposure to strong radiation.
action drawing installation in an old factory, part of the exhibition (ID)ENTITY, DEPO2015
Pilsen, The Czech Republic
Charcoal, pigment, and Tempera on paper
The drawing depicts a prolonged action of site-specific painting within the monumental space of an old bus factory. The intensive action of drawing creates a dense landscape of disturbing human interactions, referring to the location as a terminal for different human movements and memories.
part of Good Neighbors, a site-specific event Ticho house- The Israel Museum, Jerusalem
painting installation , oil on melamine in antique frames and satin ribbons
The installation relates to fictitious neighborly relations between famous dwellers of Ha'Neviim St. in Jerusalem: Dr. Abraham Ticho and his wife, artist Anna Ticho, the exiled empress of Ethiopia, the English painter Holman Hunt, The Rabbi Kook and others. Despite the fact that some of these people never actually met, the paintings in the installation unite them in a new fictional and hazed local cultural-heritage
Azure sky 13:2
Part of Viborg international billboard painting festival, Denmark
Acrylic, pigment, and medium on wooden board
The painting integrates a long gaze at the peaceful and homogeneous Viborg human landscape with a highly expressive and charged experience of alienation. The human narrative depicted in the painting is both realistic and fantastic and reflects complex reality.
Untitled (MACHON HASSIVIM)
Part of “Empty house” group project at the abandoned national fibers research building, Jerusalem
Enamel paint on 40 porcelain plates | different sizes |2012
wall painting in “Empty home” collective art project in abandoned “Hanassi” hotel, Jerusalem
Ink and pigment on wall
500/350cm | 2011
May Gallery, Musrara, Jerusalem
Charcoal on wall
250/410cm | 2009