Backstage, 2011 (installation view), installation: Wood, rods, papers and sponges, courtesy of the artist
The sculptural-painterly composition on the floor consists of wooden panels, broken furniture, a rolled foam rubber mattress, a window frame, fabrics, etc.-an assortment of readymade materials. Their coloration ranges from yellows and greens to pinks and blues. When Eden Bannet applies them to the floor, a composition is generated with perspective, depth, and rhythm, as well as color stains which organize the space, so that it may be discussed in terms of fore and rear, areas of color and linear, compressed and diffuse. In other words: the installation may be discussed as if it were a painting, or better still-a collage. Indeed, it alludes to the history of painting no less than to the history of sculpture: Kandins ky and Miró, Schwitters and Rauschenberg. Concurrently, the installation challenges the modernist need to catalogue and classify, concealing a polyphonic discourse: the mode of work with the materials internalizes insights regarding painting as well as the limitations of painting.
Bannet's artistic practice oscillates between painting, photography, drawing, and objects. Her engagement with readymade remembers painting, and vice versa-the paintings draw their inner structure from random visual occurrences and from the formal wealth by which urban objects and situations become arranged in the world. Media flow into one another and are nourished by each other; the discourse of painting goes, in this case, through sculpture and installation.
Born in Israel, 1980; lives and works in Tel Aviv