Dangerous, playful, brutal, sharp, soft, silky, furry, fibrous—all of these seemingly contradictory qualities can be used to describe Peled’s wildly colorful porcelain objects, plates and sculptures. In her hands, the shards, that fragment of glass or pottery unearthed at the archeological digs she often witnessed as a child, are transformed and enervated, becoming petals, leaves, tentacles, stems and thorns imbued with more than a hint of the animal or the human. From all this aliveness will eventually come decay and its aftermath, regeneration, a theme which Peled is constantly exploring.
In Peled’s temporary site-specific installations, process becomes inseparable from the environment that she envisions. For “Suspension” (2017), commissioned by the North Dakota Museum in Grand Forks, the artist built up dense tangles of tendril-like porcelain skeins and arranged them as cascading “spills” on the walls and near the ceiling of the space. The resulting effect of lightness and delicacy was an illusion that deceptively masked the precarious nature of the resulting constructions, all of which were in danger of toppling from their own weight. That the experience of “Suspension” was as ephemeral as music was demonstrated during a concert by Peled’s brother and collaborative partner, cello virtuoso Amit Peled, profiled in October 2018 during his concert “Journey with My Jewishness,” which was performed in the same space.
Peled studied at the Bezalel School of Art in Jerusalem and obtained a degree from London’s Royal College of Art. She is now based in the United States.
Words conveying the essence of Gitai’s work might include “transformative,” “elemental” and “pure.” He heads a team of architects and designers in Haifa and Paris who assume an interdisciplinary approach to the inside and outside of a space, conceived as a total aesthetic entity, and which is also mindful of the heritage and work of local artisans. These projects, according to Gitai, invite “us to think beyond the traditional frames of architecture, landscape and building models. This supposes us to be open to new perceptions of know-how and technologies that rely on life models, that is to say on exchanges between materials and their elements…”
Just large enough to hold two occupants, Landroom, commissioned by the municipality of Mitzpe Ramon, is the name of his 20-square-foot shelter/observatory in the Negev. Distinguished by an austerity, almost a naturalness, which seamlessly blends the structure with its environment, the building seems to have emerged organically from desert sand and rocky terrain at its location to the west of the Mitzpe Ramon Crater. It is made from “rammed earth,” a moistened mixture of sand, stone and other elements—which were taken from the Mitzpe Ramon Crater—that is forced into a mold.
Landroom has been situated to provide shade throughout the day, while its circular interior and roof opening offers an optimal view of the sky. Aside from the built-in bench, the only embellishment is a stone bell suspended from the top of the window, whose ring functions as an accompaniment to the sound and sensation of the blowing wind.
In recognition of the still-innovative thinking of Frank Lloyd Wright and other leaders of the early 20th century Prairie School, the Jaffa Roof House, completed by Gitai and his associates in 2020, envisions the surrounding land and sea views of the ancient port city as integral components of the apartment’s interior. Strategically placed glass windows and multiple balconies “create an in & out spatial experience, where the outdoor merges with the indoor to create a unique flow based on light and nature.” Both the exterior and interior of the apartment are constructed with soil, straw and lime plaster—building materials which were “sourced from the local area” and which continue to be associated with Jaffa’s history.