Technological Artwork
Eduard Almashe, a Romanian-Israeli, is teaching the public about life through art…or is it through technology?
The artist, whose upcoming show entitled “Urban Stability in Constant Motion: Assemblage and Decoration,” uses technological parts to create artwork that says, “computers are more than just tools for productivity; they have a dimension beyond the practical, reaching into the artistic — a facet that emerges fully only when they are no longer productive.”
Almashe says the meaning of his artwork is twofold. Having an especially tumultuous relationship with the Holocaust – he found out at age 34 that his beloved Romanian heritage aided the Nazis in WWII, prompting his emigration to Israel – he sees stripped technology as “a person without a soul — just a skeleton is left. I thought that I could make art that would be a cemetery, a tribute to all the people who died in the Holocaust.” But, he continues, his artwork is not all about the past; it also has a place in the future. “I would like to know how people in the future, perhaps 1,000 years from now, will respond to the work I am doing based on the technology of 2012. I have the feeling that the reaction will be identical to the reaction we have when we see artistic works from the days of the Pharaohs.”
The artist, whose upcoming show entitled “Urban Stability in Constant Motion: Assemblage and Decoration,” uses technological parts to create artwork that says, “computers are more than just tools for productivity; they have a dimension beyond the practical, reaching into the artistic — a facet that emerges fully only when they are no longer productive.”
Almashe says the meaning of his artwork is twofold. Having an especially tumultuous relationship with the Holocaust – he found out at age 34 that his beloved Romanian heritage aided the Nazis in WWII, prompting his emigration to Israel – he sees stripped technology as “a person without a soul — just a skeleton is left. I thought that I could make art that would be a cemetery, a tribute to all the people who died in the Holocaust.” But, he continues, his artwork is not all about the past; it also has a place in the future. “I would like to know how people in the future, perhaps 1,000 years from now, will respond to the work I am doing based on the technology of 2012. I have the feeling that the reaction will be identical to the reaction we have when we see artistic works from the days of the Pharaohs.”