A joint work by Nivi Alroy and Michal Heiman, The Third (Her) is a three-component sitespecific installation constructed for Fresh Paint. Alroy’s sculptures, combining readymade and traditional techniques, are installed in the space, with excerpts from Heiman’s recent film inserted in them. A version of the film is presented on a separate screen. In addition, the exhibition features showcases containing drawings by both artists. These drawings were created in tandem during the filming of Heiman’s film. The installation is the result of a dialogue between Heiman and Alroy, who met as lecturer and student at the Bezalel Academy of Art and Design, Jerusalem.
The installation delves into the notion of the “third”—inseparable connections between at least two subjects, and in this case, a spatial collaboration between the two artists—while striving to present the act of drawing/drawing in action.
Alroy: “Michal Heiman was my teacher. I believe that her contribution to my artistic path has been invaluable. In this installation I present sculptures originally created for the installation Pixelville in New York. In recent years I have been experimenting with combining videos in my sculptures. I believe that the dialogue with Michal’s practice and with her film may yield a fascinating project. I relate to the cinematic image within the sculptures I construct and form a “relationship” with it, one which would change the meaning and nature spawned by the encounter, while discussing encroachment and mutual enrichment.”
Heiman: “In the work with Nivi Alroy I strive to continue my installation and performance pieces, whether staged films or works presented before an audience, as well as my collaboration with different artists. Drawing is a fascinating aspect in Alroy’s work, and her art, like mine, draws on art history, clinical studies, and the discourse of politics and gender. In my film Reality and Playing #2 – A Proposal for a Visual Reconstruction of a D.W.Winnicott Case Study I invite Nivi to play with me in the squiggle technique in order to try to reconstruct the drawings which psychoanalyst D.W Winnicott chose to omit from his case study referring to a female adolescent patient.”