RED MOON

Curator: Dr. Tal Frenkel Alroy

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Debbie embroiders stories in Tea. She collects used Tea Bags and paints them with black ink. She sews them into a square array. She embroiders on it in light and dark colors. It signals movement. She brings to live old material in ancient technics: Organ by organ in its dance of embroidery and unravel.

 

In the Red Moon exhibition, Debbie phrases mythological text using feminine language. She binds the platform of Tea Bags to the moon appearance, and turns them into one ritual that begins at darkness. She assembles the viewers around the cup while the sun turns dark and the moon turns to blood. This is the hour of the demons rising from the glass, the hour of the ghosts that cannot be forgotten. Does the red moon rise from the tea comfort? Does it release from memories? Does it enable fantasizing or does it rape the hard words?

 

Debbie's works are a dive into the dark, but also an effort to unravel the necessity to remember. They are a desire to restore the dead, to turn back, but also, they are a passion to reveal and disperse the body that remembers. They are the aspiration to maintain the sequence, sustain the normal monthly cycle, but also a need to fall apart and be separated, to snuggle and be redeemed from the tormenting belonging. They are a joy of madness but also, a reflection of the gaze, from the moon or from another planet, which always edicts us to be alone, one, wandering and bleeding.

 

Similar to the exhibition "Your Mother's Cunt" (2017 Zadik Gallery), Debbie's mythology is written with a needle, tattooed on a thin sack of paper, in which every pinch of the needle creates a wound and each connection threatens to be interrupted. As with memory so does the hand, holds the sequence and weakens it at the same time. In contrast to the intensified close-up of the Cunt at the first exhibition, Red Moon asks about complex not fragment. If the Cunt is the foundation of the creation of the world, what are the memories? What gravitational powers do they position against the will to create ourselves?

 

The exhibition display space is within a stylish furniture store, an imaginable space of a home to unreminiscent articles that are on wait. The sterile environment, highly designed, is required to contain the loaded works, which stain the walls of the store. It is not only the black continuum that extends no the white brick wall, but also fragments from "Your Mother’s Cunt" on the inner walls.

 

The allocation of Debbie's works in the furnished space offers a different wandering, both from the point of view of a gallery and from a point of view of a shop. New and old, loaded and neutral, mass and disposable are all mixed together, offering a new expression of the term "Interior Design": A space of memory – private and collective, aesthetic and mythological, original and archaeological. Space that like the moon, has all sorts of shows, all kinds of nights and mornings, and is driven by the force of the signature of the person who is reflected in it.

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