Missionary center 
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

The Weavers
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.    

Smadar Sheffi

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

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HAMIFFAL 

Part of "Empty House" collective art project in the Lorenzo-Serafin family historic house , Jerusalem 

fresco, ‬pigment‭ and ‬scraped color layers  

2016

Untitled (Artifact)

Artifact exhibition, Art cube gallery, Jerusalem

Fresco fragments on plaster walls and ink on wall

300/730 cm

 2013

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.

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Untitled

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

350/1800 cm
2014

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.

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Patient A.E.
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
2014


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.

Gate 2

action drawing installation in an old factory, part of the exhibition (ID)ENTITY, DEPO2015

Pilsen, The Czech Republic

Charcoal, pigment, and Tempera on paper

450/750cm

2015

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.

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Genealogy

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

200/100cm

2014

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
tree.

Azure sky 13:2

Part of Viborg international billboard painting festival, Denmark

Acrylic, pigment, and medium on wooden board

 450/450cm

 2015

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

The pool

wall painting in “Empty home” collective art project in abandoned “Hanassi” hotel, Jerusalem

 Ink and pigment on wall

500/350cm | 2011

Sabbath Square 

May Gallery, Musrara, Jerusalem 

Charcoal on wall

 250/410cm | 2009

© Meydad Eliyahu 

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