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A Light
in the Dark
Upheaval
1980
Mixed media on panel
20" x 28"
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Hunanity's Stuggle III Faceless Soldier
1991
Mixed media on canvas
48" x 36"
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L.C.D.S-XXVI
2006
Mixed media, cotton on canvas
30" x 40" |
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L.C.D.S-XXIII
2006
Mixed media, foil on panel
48" x 90" |
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L.C.D.S-XXIV
2006
Mixed media, wire on panel
48" x 92" |
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Tusunami
2004/5
Mixed media, wire on canvas
40" x 40" |
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Voice of Silence
2007
Mixed media, wire, nails, foil, felt wood
36" x 68½" x 3¼" |
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L.V.D.S-XVIII
2006
Mixed media, cardboard on panel
72" x 48" x 4½" |
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Drawing with wires
2006
Paint, wires on canvas
60" x 11" |
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Dialogue
2008
Mixed media on canvas
40" x 30" |
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L.V.D.S-XX
2006
Mixed media, copper on canvas
30" x 30" |
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Divided Nation
2006
Mixed media, wire on canvas
36" x 53" |
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Descend
2005
Mixed media, sand on panel
48" x 48" |
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Hovering Spirit
2005
Mixed media, sand on panel
48" x 48" |
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Primal Fear
2006/7
Mixed media on panel
96" x 96" |
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A Light in the Dark
2007
Mixed media on panel
60" x 96" |
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Denouement
2006
Mixed media paper on canvas
36" x 48" |
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L.V.D.S-XXI
2006
Mixed media on linen
48" x 72" |
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L.V.D.S-XXII
2006
Mixed media on canvas
48" x 72" |
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Congregate
2005
Mixed media on canvas
23" x 36" |
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Full Cycle
2007
Mixed media, seeds, leaves, sand on panel
96" x 96" |
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Frank
Pictures Gallery is privileged to present Light
In The Dark by Jerusalem born artist Rhea Carmi.
To grow up in Israel is to experience the world
both as an upheaval and as a sanctuary. Rhea
Carmi, in these vivid abstract compositions captures
both the anguish and the peace of her own experience
and that of her husband Meir, a Holocaust survivor.
Her paintings are prayers. Carmi utilizes a variety
of media: oils, sand, water, treated paper, canvas
and wood; which she layers, smooths and sculpts
to create an intimate landscape that demands
a tactile as well as visual response. Her work,
recently acquired by the Museum of Tolerance
and exhibited at the Riverside and Torrance Art
Museums, speaks eloquently of both what it is
to endure, and that what we must endure. “In
response to war Carmi’s palette and her
formal vocabulary changed”, writes renowned
curator and critic Peter Frank, “becoming
simpler, more sober, more contemplative, turning
inward. Some pieces took on the foreboding gloom
of war. Into a few of these Carmi introduced
soft, even three-dimensional shapes, as if to
insist on the reality of human frailty but to
also to celebrate somehow the defiant persistence
of human sensuality. Such an existential gesture,
a positing of the human against the void, suits
Rhea Carmi’s style. Carmi insists that
we still live with the constant threat of annihilation
and that the human spirit cannot and will not
be stifled by the threat. Simple or complex,
agitated or calm, but always poised and luminous,
these paintings argue that, even in the face
of death, humanity triumphs.”
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