{"id":25026,"date":"2026-03-29T16:09:28","date_gmt":"2026-03-29T14:09:28","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=25026"},"modified":"2026-03-29T22:27:39","modified_gmt":"2026-03-29T20:27:39","slug":"on-one-painting-in-a-very-still-life-tsuki-garbian-%d7%a2%d7%9c-%d7%a2%d7%91%d7%95%d7%93%d7%94-%d7%90%d7%97%d7%aa-%d7%91%d7%98%d7%91%d7%a2-%d7%93%d7%95%d7%9e%d7%9d-%d7%9e%d7%90%d7%93-%d7%a6%d7%95","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=25026","title":{"rendered":"On one painting in A Very Still Life Tsuki Garbian | \u05e2\u05dc \u05e2\u05d1\u05d5\u05d3\u05d4 \u05d0\u05d7\u05ea \u05d1\u05d8\u05d1\u05e2 \u05d3\u05d5\u05de\u05dd \u05de\u05d0\u05d3 \u05e6\u05d5\u05e7\u05d9 \u05d2\u05e8\u05d1\u05d9\u05d0\u05df"},"content":{"rendered":"\t\t
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For English click here\u00a0<\/a><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u05d4\u05e8\u05e6\u05d0\u05ea \u05de\u05d5\u05e7\u05dc\u05d8\u05ea : \u05d4\u05db\u05e0\u05d4 \u05dc\u05e7\u05e8\u05d0\u05ea \u05d4\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 \u05d1\u05d5\u05d5\u05e0\u05e6\u05d9\u05d4 2026 <\/div>
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Click Here<\/div><\/div><\/a><\/div>
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Click Here<\/div><\/div><\/a><\/div>\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\tPrevious slide<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\tNext slide<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Tsuki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05de\u05d0\u05d7\u05d5\u05e8\u05d9 \u05d7\u05dc\u05d5\u05e0\u05d5\u05ea\u00a0 \u05d6\u05db\u05d5\u05db\u05d9\u05ea\u00a0 \u05e9\u05dc \u05d3\u05dc\u05ea \u05de\u05e2\u05d5\u05d8\u05e8\u05d5\u05ea, \u05de\u05e7\u05e8\u05d1\u05d9\u05d5 \u05e9\u05dc \u05d7\u05dc\u05dc \u05de\u05d5\u05e1\u05ea\u05e8, \u05de\u05ea\u05d2\u05dc\u05d4 \u05d3\u05de\u05d5\u05ea \u05d4\u05d0\u05de\u05df \u05d4\u05de\u05db\u05d5\u05d5\u05df \u05de\u05db\u05e9\u05d9\u05e8 \u05e1\u05dc\u05d5\u05dc\u05e8\u05d9 \u05dc\u05e6\u05d9\u05dc\u05d5\u05dd \u05d4\u05d7\u05dc\u05dc. \u05d2\u05e8\u05d1\u05d9\u05d0\u05df \u05de\u05d7\u05d1\u05e8 \u05d0\u05ea \u05d3\u05de\u05d5\u05ea \u05d4\u05d0\u05de\u05df \u05d1\u05d7\u05ea\u05d5\u05e0\u05ea \u05d1\u05e0\u05d9 \u05d4\u05d6\u05d5\u05d2 \u05d0\u05e8\u05e0\u05d5\u05dc\u05e4\u05d9\u05e0\u05d9 The Arnolfini Portrait\u05e9\u05dc \u05d5\u05d0\u05df \u05d0\u05d9\u05d9\u05e7 \u00a0(1434), \u05e2\u05dd \u05d4\u05e6\u05d9\u05d9\u05e8 \u05e9\u05dc \u05d5\u05dc\u05e1\u05e7\u05d6 \u05d1\u05dc\u05d0\u05e1 \u05de\u05e0\u05d9\u05e0\u05d0\u05e1 Las Meninas ( 1656). \u05d0\u05dd \u05d3\u05de\u05d5\u05ea \u05d4\u05e6\u05d9\u05d9\u05e8 \u05d1\u05e0\u05d9\u05e9\u05d5\u05d0\u05d9 \u05d0\u05e8\u05e0\u05d5\u05dc\u05e4\u05d9\u05e0\u05d9 \u05e0\u05de\u05e6\u05d0 \u05db\u05e2\u05d3 \u05d1\u05e6\u05d9\u05d5\u05e8, \u05de\u05db\u05e4\u05d9\u05dc \u05d0\u05ea \u05d4\u05de\u05d1\u05d8 \u05e9\u05d4\u05e6\u05d9\u05d5\u05e8 \u05de\u05d3\u05d1\u05e8 \u05e2\u05dc\u05d9\u05d5 \u05d4\u05e8\u05d9 \u05d1\u05dc\u05d0\u05e1 \u05de\u05e0\u05d9\u05e0\u05d0\u05e1 \u05d5\u05dc\u05e1\u05e7\u05d0\u05d6 \u05de\u05e2\u05e8\u05e2\u05e8 \u05d0\u05ea \u05e0\u05e7\u05d5\u05d3\u05ea \u05d4\u05de\u05d2\u05d5\u05d6 \u05e9\u05dc \u05d4\u05e6\u05d9\u05d5\u05e8 \u05d5\u05d4\u05de\u05e8\u05d0\u05d4 \u05de\u05e9\u05e7\u05e4\u05ea \u05d3\u05de\u05d5\u05d9\u05d5\u05ea \u05e9\u05d0\u05d9\u05e0\u05df \u00a0\u05d1\u05d7\u05dc\u05dc \u05d1\u05d5 \u05de\u05ea\u05e8\u05d7\u05e9 \u05d4\u05e6\u05d9\u05d5\u05e8 (\u05de\u05d9\u05e9\u05dc \u05e4\u05d5\u05e7\u05d5 \u05db\u05ea\u05d1 \u05e0\u05d9\u05ea\u05d5\u05d7 \u05de\u05e2\u05e0\u05d9\u05d9\u05df \u05e2\u05dc \u05e9\u05d0\u05dc\u05ea \u05d4\u05d0\u05d5\u05d1\u05d9\u05d9\u05e7\u05d8, \u05d4\u05e1\u05d5\u05d1\u05d9\u05d9\u05e7\u05d8 \u05d5\u05d4\u05de\u05ea\u05d1\u05d5\u05e0\u05df \u05d1\u05e6\u05d9\u05d5\u05e8 \u05d4\u05d6\u05d4). \u05d2\u05e8\u05d1\u05d9\u05d0\u05df \u05de\u05ea\u05d1\u05d5\u05e0\u05df \u05de\u05d1\u05d7\u05d5\u05e5 \u05d5\u05d4\u05e6\u05dc\u05d5\u05dd \u05d1\u05de\u05db\u05e9\u05d9\u05e8 \u05d4\u05e1\u05dc\u05d5\u05dc\u05e8\u05d9, \u05e9\u05de\u05d5\u05e4\u05d9\u05e2 \u05db\u05d0\u05de\u05d5\u05e8 \u05d2\u05dd \u05d1\u05d9\u05d3\u05d9 \u05d4\u05d0\u05e9\u05d4 \u05d1\u05d0\u05d3\u05d5\u05dd, \u05de\u05e6\u05d1\u05d9\u05e2 \u05e2\u05dc \u05d0\u05e4\u05e9\u05e8\u05d9\u05d5\u05ea \u05d6\u05dc\u05d9\u05d2\u05ea \u00a0\u05d4\u05e1\u05e6\u05e0\u05d4, \u05d4\u05de\u05d9\u05d3\u05e2, \u05dc\u05e2\u05d5\u05dc\u05de\u05d5\u05ea \u05d4\u05d5\u05d5\u05d9\u05e8\u05d8\u05d5\u05d0\u05dc\u05d9\u05d9\u05dd \u05e9\u05de\u05d7\u05d5\u05e5 \u05dc\u05e6\u05d9\u05d5\u05e8 \u05e9\u05de\u05d4\u05d3\u05d4\u05d3\u05d9\u05dd \u05de\u05e9\u05e0\u05d9\u05dd \u05d5\u05de\u05e2\u05e6\u05d1\u05d9\u05dd \u05de\u05e6\u05d9\u05d0\u05d5\u05d9\u05d5\u05ea.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Tsuki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026 (detail)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t
Tsuki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026 (detail)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\n\t\t\t\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\n\t\t\t\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\tPrevious<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\tNext<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d2\u05d5\u05dc\u05d2\u05d5\u05dc\u05d5\u05ea, \u05e1\u05de\u05dc \u05d4\u05de\u05d5\u05d5\u05ea \u05d5\u05d4\u05e1\u05d1\u05dc \u00a0\u05e2\u05de\u05d5\u05e1\u05d4 \u05dc\u05e2\u05d9\u05d9\u05e4\u05d4 \u05d1\u05ea\u05e7\u05d3\u05d9\u05de\u05d9\u05dd \u2013 \u05de\u05d4\u05d2\u05d5\u05dc\u05d2\u05d5\u05dc\u05ea \u05d1\u05d1\u05e1\u05d9\u05e1 \u05d4\u05e6\u05dc\u05d1 \u05e2\u05dc \u05d2\u05d1\u05e2\u05ea \u05d4\u05d2\u05d5\u05dc\u05d2\u05dc\u05ea\u05d0, \u05d3\u05e8\u05da \u05d4\u05de\u05e9\u05d7\u05e7 \u05d1\u05d2\u05d5\u05dc\u05d2\u05dc\u05d5\u05ea \u05e9\u05dc \u05e8\u05d5\u05d6\u05e0\u05e7\u05e8\u05e0\u05e5 \u05d5\u05d2\u05d9\u05dc\u05d3\u05e0\u05e9\u05d8\u05e8\u05df \u05d1\u05d4\u05de\u05dc\u05d8 \u05e9\u05dc \u05e9\u05d9\u05d9\u05e7\u05e1\u05e4\u05d9\u05e8, \u05d2\u05d5\u05dc\u05d2\u05dc\u05d5\u05ea \u05d1\u05d0\u05d9\u05e0\u05e1\u05e4\u05d5\u05e8 \u05e6\u05d9\u05d5\u05e8\u05d9 \u05de\u05d5\u05de\u05e0\u05d8\u05d5 \u05de\u05d5\u05e8\u05d9 \u05d5\u05d5\u05d0\u05e0\u05d9\u05d8\u05e1, \u05d3\u05e8\u05da \u00a0\u05d4\u05d9\u05d5\u05ea\u05d4 \u05e1\u05de\u05dc \u05e0\u05d0\u05e6\u05d9 \u05d5\u05e2\u05d3 For the Love of God \u00a0\u05e4\u05e1\u05dc \u05d4\u05d2\u05d5\u05dc\u05d5\u05dc\u05d5\u05ea \u05e9\u05dc \u05d3\u05de\u05d9\u05d0\u05df \u05d4\u05e8\u05e1\u05d8 \u05d4\u05de\u05e6\u05d5\u05e4\u05d4 \u05d9\u05d4\u05dc\u05d5\u05de\u05d9\u05dd. \u05d4\u05d2\u05d5\u05dc\u05d2\u05d5\u05dc\u05ea \u05e9\u05dc \u05d2\u05e8\u05d1\u05d9\u05d0\u05df \u05e2\u05d5\u05dc\u05d5\u05ea \u05de\u05de\u05e2\u05de\u05e7\u05d9 \u05d4\u05d7\u05dc\u05dc \u00a0\u05d4\u05e6\u05d9\u05d5\u05e8\u05d9 \u05db\u05d0\u05d9\u05dc\u05d5 \u05de\u05d7\u05dc\u05d7\u05dc\u05d5\u05ea \u05dc\u05ea\u05d5\u05db\u05d5, \u05de\u05e4\u05e2\u05e4\u05e2\u05d5\u05ea \u05db\u05de\u05d5 \u05e8\u05e2\u05dc. \u05d1\u05d9\u05e9\u05e8\u05d0\u05dc, \u05e9\u05e0\u05de\u05e6\u05d0\u05ea \u05d1\u05de\u05dc\u05d7\u05de\u05d4 \u05e8\u05e6\u05d9\u05e4\u05d4 \u05e7\u05e8\u05d5\u05d1 \u05dc\u05e9\u05dc\u05d5\u05e9 \u05e9\u05e0\u05d9\u05dd \u05d4\u05de\u05d5\u05d5\u05ea \u05e9\u05e4\u05d5\u05dc\u05e9 \u05dc\u05d7\u05dc\u05dc \u05d4\u05d1\u05d9\u05ea\u05d9 \u05e9\u05de\u05e7\u05d9\u05e3 \u05d5\u05e0\u05d5\u05e9\u05e7 \u05dc\u05d3\u05de\u05d5\u05d9\u05d5\u05ea \u05e9\u05de\u05e8\u05d7\u05e4\u05d5\u05ea \u05db\u05de\u05d5 \u05e8\u05d5\u05d7\u05d5\u05ea \u05d5\u05d6\u05d9\u05db\u05e8\u05d5\u05e0\u05d5\u05ea \u05de\u05db\u05d4 \u05d1\u05e6\u05d5\u05e4\u05d4.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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suki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026 (detail)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\tNext slide<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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<\/a>On one painting in A Very Still Life <\/em>| Tsuki Garbian<\/strong><\/p>

The visual compass moves wildly from side to side. There is neither a center nor a resting place in Tsuki Garbian\u2019s untitled diptych, in which each centimeter of the 200 X 240 canvas is justified. This is a piece whose emotional, formal, and colorful mix generates the elusive alchemy that makes a painting into a moment engraved in the memory.<\/p>

The painting\u2019s narrative is illusory \u2013 there are four figures, a great many skulls, and a space that refuses to bow to the accepted laws of spatial perspective and of time. The painted work by Garbian, (one of the few Israeli artists known primarily for his drawings) is impressive in its free almost excessive brushstrokes, like a game of random contact that can be conducted only by someone who is in full control of the medium. In some parts of the paintings, associations arise to Marlene Dumas or Cecily Brown\u2019s broken, fluid forms.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Tsuki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The painting has an active morphology of particles which converge to form familiar entities \u2013 a glistening kettle, table lamp, or the body of a woman, melting into the whiteness of the canvas and the painting of the floor, as if she is located in a place that she doesn\u2019t own. To the right of the figure is an outstretched hand hanging in the air, above which an elbow (?) peeks out, hinting at a ghost figure that was there but was then erased or stopped in the middle of the process. Behind it is the figure of a woman in red, the focus of the painting. Her location on the right side tilts the entire painting, disturbing the equilibrium, making the disruption and pain present that are evoked by the skulls. The woman is missing the lower part of her body as if it melted or was torn away. This violence makes the red of her dress stand out even more, a color associated with the clothing worn by the condemned in the Middle Ages, but also the color associated with Mary in her human form and to the Passion. With a cellphone at her ear and her expression, she succeeds in being simultaneously concentrated and apathetic.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Las Meninas is a 1656 painting in the Museo del Prado in Madrid, by Diego Vel\u00e1zquez<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Behind the decorated glass doors of a cabinet, concealing its insides, the figure of the artist is revealed as he points his cellphone to the space to photograph it. Garbian connects the artist\u2019s figure to The Arnolfini Portrait<\/em> by Van Eyck (1434), and to Velazquez\u2019s Las Meninas <\/em>(1656). \u00a0If the figure of the painter in the Arnolfini Portrait <\/em>appears as a witness int he painting, doubling the gaze that the painting is speaking about, in Las Meninas <\/em>Velazquez challenges the painting\u2019s vanishing point, and the mirror reflects people who are not in the space in which the painting is taking place (Michel Foucault wrote an interesting analysis of the issue of the object, the subject, and the one who gazes in this painting). Garbian observes from the outside, while the photograph on his cellphone, which also appears in the hands of the woman in red, points to the possibility of the scene and the information leaking through into virtual worlds outside of the painting that resonate\u00a0 factors that change and shape realities.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Tsuki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026 (detail)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The Arnolfini Portrait is an oil painting on oak panel by the Early Netherlandish painter Jan van Eyck, dated 1434<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The skulls, symbol of death and suffering which has been overused in precedents in art history \u2013 from the skulls at the base of the Cross on Golgotha Hill, through playing with the skulls of Rosendrantz and Guildenstern in Shakespeare\u2019s Hamlet, <\/em>skulls in innumerable memento mori <\/em>(\u201cVanitas) paintings, its use as a Nazi emblem, through Damien Hirst\u2019s diamond-encrusted skull he titled For the Love of God.\u00a0 <\/em>Garbian\u2019s skulls arise from the depths of the painterly space as if filtering down into it like poison. In Israel, undergoing continuous warfare over the past three years, death invading the domestic space surrounding and interfacing with the hovering figures like ghosts and memories leave a deep impression on the viewer.<\/p>

Interesting to think of Garbian\u2019s untitled painting in relation to The Ambassadors <\/em>by Holbein (1533) in which a skull appears at the center of the painting only when viewed from a certain angle, i.e., when the viewer breaches the traditional \u201cviewing contract\u201d in which perspective dictates that the viewer must stand at the center of the painting facing the vanishing point.<\/p>

Due to the lamp reflected in the mirror (behind the side table with the figurines), the painting that comes to mind is Manet\u2019s A Bar at the Folies-Berg\u00e8re<\/em> in which at first the central figure of the barmaid seems to look directly at the viewer but a close look subverts this assumption.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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suki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026 (detail)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d4\u05e8\u05e6\u05d0\u05ea \u05de\u05d5\u05e7\u05dc\u05d8\u05ea : \u05d4\u05db\u05e0\u05d4 \u05dc\u05e7\u05e8\u05d0\u05ea \u05d4\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 \u05d1\u05d5\u05d5\u05e0\u05e6\u05d9\u05d4 2026 <\/div>
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The skulls, symbol of death and suffering which has been overused in precedents in art history \u2013 from the skulls at the base of the Cross on Golgotha Hill, through playing with the skulls of Rosendrantz and Guildenstern in Shakespeare\u2019s Hamlet, <\/em>skulls in innumerable memento mori <\/em>(\u201cVanitas) paintings, its use as a Nazi emblem, through Damien Hirst\u2019s diamond-encrusted skull he titled For the Love of God.\u00a0 <\/em>Garbian\u2019s skulls arise from the depths of the painterly space as if filtering down into it like poison. In Israel, undergoing continuous warfare over the past three years, death invading the domestic space surrounding and interfacing with the hovering figures like ghosts and memories leave a deep impression on the viewer.<\/p>

Tsuki Garbian, Untitled | Diptych,<\/em> oil on canvas mounted on wood, 200*240 cm, 2026 (detail)<\/p>

Interesting to think of Garbian\u2019s untitled painting in relation to The Ambassadors <\/em>by Holbein (1533) in which a skull appears at the center of the painting only when viewed from a certain angle, i.e., when the viewer breaches the traditional \u201cviewing contract\u201d in which perspective dictates that the viewer must stand at the center of the painting facing the vanishing point.<\/p>

Due to the lamp reflected in the mirror (behind the side table with the figurines), the painting that comes to mind is Manet\u2019s A Bar at the Folies-Berg\u00e8re<\/em> in which at first the central figure of the barmaid seems to look directly at the viewer but a close look subverts this assumption.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Hans Holbein the Younger, The Ambassadors 1533 (detail)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In Garbian\u2019s painting, the center of the canvas is not the painting\u2019s visual center of gravity, the reflections battle with each other. Along with the tree (which looks somewhat like a mural or maybe an outside reflection), are red lines of a disappearing cornice (not to speak of the associations to \u201cred lines\u201d) drawn on the canvas together with the magic realism colors. Dwelling together In the painted space are spirits, death, and doubt gnawing at the reading of reality.<\/p>

Rothschild Gallery, <\/strong>Moshe Maor 3, Tel Aviv<\/p>

Photos: Dr. Smadar Sheffi\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Tsuki Garbian, Untitled | Diptych, oil on canvas mounted on wood, 200*240 cm, 2026<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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