Nir Adoni's metal vessels sculptures have become his signature art and are displayed in public buildings around the world. We are offering limited editions in a few sizes of these art works that can be wall installed easily in a private home. Led light can be added to create light and shade and a special atmosphere to the wall design. Nir Adoni tells the story of his work process and inspiration: The body of work on the ships was done after visits to Haifa port, Jaffa port, Rotterdam port which is one of the most developed and advanced in the world and watching hundreds of images and videos of shipbreaking yards, A kind of huge shipyards to which the western world sends the ships that can no longer be active. I often visited the port of Jaffa where there was a large cluster of abandoned ships and I began to study the characteristics, forms and power left in these huge bodies that stopped moving. I took these dachshunds to my studio and tried to preserve the movement and the rust, some of the ships were created from rusty metal parts of ships that I collected in the harbor. As an artist living and working in the city, my work is informed by its architecture, culture, history, and real estate, which feed directly into it. For a decade now, I've studied the cultural importance of industrial structures in Tel Aviv and other cities worldwide. My work involves analyzing the unique characteristics of these buildings and interpreting their aesthetic significance. I consider the rich history of these cities, including the diverse peoples, armies, religions, the nations that have occupied them over the years, and past and present reciprocal interactions, exploring sea and land routes of transportation and commerce and the objects exchanged by these routes. My artistic exploration revolves around Tel Aviv and incorporates elements from other cities. Over the past few years, the city has experienced a significant building boom, rapidly transforming its skyline and visual history, and at times erasing large swaths. A recurring motif in the city sky is the huge, overarching cranes that simultaneously represent transient visuality and monumentality. The incessant hum of destruction and construction interweaves in the city’s soundtrack. Negligence, speedy construction, and lack of sufficient local planning produce an architectural mix that, while chaotic, is fascinating aesthetically, historically, and culturally. Another prominent element in my work is the tension between nature and the city and the ongoing battle between these two great forces, which has been ongoing for thousands of years. I explore how nature incorporates itself into the monumental concrete environments we’ve created – at times with no real function, no more than decoration, and at times as a bursting, destructive, unstoppable force. I gather all this knowledge and images in my studio. After gauging their scale, surroundings, historical characteristics, and contexts, I begin dissimilating them into fragments and reworking them through different media, including computer, painting, drawing, and laser cutting techniques, adding data layers, lighting, and colors. The result is a new language that responds to the architectural elements around me. Works and Exhibitions: Terminal, 2018 Nord Art International Art Exhibition, Germany Laser cutting, metal, LED lighting 10 x 3 m Curators: Wolfgang Gramm Inga Aru, Carmit Blumenson Terminal was displayed in NordArt, an international exhibition held in Germany every summer at an old casting factory built in the 1850s. It was mounted in 2017 and was exhibited until 2023. The building was converted into a space for art, an impressive sculpture garden, and houses especially large works of art. The exhibitions attract hundreds of thousands of visitors from all over Eastern Europe and Scandinavia, who come to enjoy the art and festivals of classical and contemporary music. Terminal was created in Israel and Germany in collaboration with the NordArt exhibition curators and was supported by the German Foreign Ministry. The work resulted from a year spent in Northern Germany, in which I was fascinated by the vast seaports, shipping lanes, and the tight historical link of the residents with the maritime world. The work links these impressions, the local history and architecture I saw in Germany, and the memories, experiences, and architecture I carried with me. The work – 10 m long and 3 m high – is displayed in the highest room of the old factory. This room served for casting and still has the vast metal tanks, rusty metal surfaces, and cranes hanging from metal poles tens of meters high. The building resembles a cathedral but without glass windows, which would burst from the intense heat during casting, leaving the space naturally dark. The work consists of eight metal panels rusted in an organic process for weeks inside the space. It hangs from the ceiling on thin, sturdy metal cords and emits a bright, intense light, creating a halo visible from far away. The immense size of the work allows it to be seen from various places. Visitors can enter and exit the space at multiple points, experiencing a range of architecture types and getting a different aspect each time – as implied by the title Terminal.

 

Creation Year

2022

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