Netally Schlosser:
Stones and Symmetry in the Land of Sand, Chapter 2:
At the Foot of the Chalcolithic Temple
Awakening of the Kingdom and the Spiritual Jewel

Netally Schlosser's exhibition had been the culmination of one of the most intriguing processes taking place today in local contemporary art. The exhibition was based on vision and invention, and at its center was a mystery - the kind found in ancient artifacts, rocks, technology, and symmetry. Together, the works in the exhibition embodied, in Schlosser's words, "a kingdom, half of which is already hewn in stone and it is waiting for the other half to arrive from the other side of history and awaken it, resurrect it."

 

At first glance, the sculptures look like ancient figurines, but they originate from stones that the artist has collected and photographed in Arad and at various sites in the Judean Desert. The artist processes the collected stones’ images on a computer, carving and cutting them with simple mirroring actions - select, copy-paste, flip, snap. She "attaches a piece of stone to its symmetrical inversion, until there is no groove or crack left, absolute digital accuracy." The cut and symmetry in the stone’s image is the discovery that has led Schlosser, known as a painter, to expand her practice beyond the realm of painting, to the digital tools and sculptural possibilities of 3D printing, through which she has thought about the edges of technology while following the gaze of ancient peoples.

 

Thus, in creating the sculptures in the exhibition, the artist brought together pre-history and post-history, the post-historical era: the information age, or the new age, as many perceive our time. "A power hidden in history as a mystery," she writes, "shines at its ends." The advancement of 3D printing technology is reviving stone splash technology, and both stand on either side of the symmetrical cross-section.