Naama Bergman
Through inventive, impeccably fabricated jewelry and vessels, Bergman exploits the idea of change: emergence, growth, decay, and the tension that accrues between cultural heritage, physical matter, and fleeting time. By combining contradictory materials such as steel and rust within classic formats like urns and pods, she questions the essence of creation, potential, and transformation; she provokes a confrontation between preservation and decomposition, while at the same time positing questions about the hegemony, function, and mutability of mediums and forms. Bergman makes protean objects that tell a continuing tale about the very nature of existence. Tradition and nostalgia play major roles in Bergman’s aesthetic. As a Sabra of East European heritage, she regards her work as tropes for the dichotomy between familial roots and present day reality. In her latest works, Bergman allows salt to grow slowly upon vessels, pendants, and brooches made from iron mesh. The openwork armatures are hard but delicately crafted, while the salt – a natural preservative – both helps to maintain the rigid support but also breaks it down. Although constantly altering, these pristine objects and jewels are simultaneously frozen in time. Other works will be presented that possess similar existential and cultural references, although they are made from very different substances, such as jewelry wet-molded into shape from animal intestines that have been treated in a salt solution – meant to be viewed as reminders of their former natural life.
Erez Nevi Pana
Salt is a relevant material in your work. How did you start working with it? During the second year of my master’s degree course, I visited my homeland for a short vacation and travelled to the Dead Sea to catch some good sun. On my way back home, I saw a neglected white mountain in the middle of the desert. It was a salt mountain, the by-product of the manic production of potash (a fertiliser) and bromine (a flame retardant) from the waters of the Dead Sea. I decided to explore this material and find sustainable ways to make it desirable again. I graduated from Design Academy Eindhoven with a project that proposed a marble-like surface for architecture (tiles and blocks) made of 100 per cent pure sea salt. The overwhelming response to this research made me continue searching for more salt applications using my unique technique of melting Dead Sea salt in moulds. One of the applications I recently came up with is a concept for Frank Gehry’s new building underway in Arles: to cover the facade with my salt tiles.
More Information From：https://www.domusweb.it/en/design/2018/04/10/vegan-design-or-the-art-of-reduction.html
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