{"id":47,"date":"2024-02-13T10:00:18","date_gmt":"2024-02-13T10:00:18","guid":{"rendered":"https:\/\/veredlahav.com\/wordpress\/?p=47"},"modified":"2024-06-19T10:05:38","modified_gmt":"2024-06-19T10:05:38","slug":"the-garden","status":"publish","type":"post","link":"https:\/\/veredlahav.com\/wordpress\/index.php\/2024\/02\/13\/the-garden\/","title":{"rendered":"The Garden"},"content":{"rendered":"\n
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\u201cVered Lahav\u2019s work can be read as a series of short stories between which there is a certain continuity.  Recurrent themes and narratives, central to the artist\u2019s practice, are skillfully deployed within and threaded between episodes to question matters of gender, identity, relationships and migration.  Throughout the characteristically subtle and understated work there is a persistent trace of autobiography: a nod to Lahav\u2019s own experience, and the journey from her native homeland to the UK.<\/p>\n\n\n\n

Alongside these distinct allusions to serenity and suppression, the garden also stirs notions of enlightenment which extend to the artist\u2019s work.  This is most notable in the use and application of materials in \u2018Taxidermy\u2019 (2013), where multiple resin-injected poppy casts sit in contrast to the traditional bronze-cast \u2018Twilight\u2019s Star\u2019 (2009).  And in the kitsch aesthetic of the ceramic owl in \u2018The Visitor\u2019 (2013), the vivid palette against an infinite black background offsets the more typical minimalism of \u2018Scrimshaw\u2019 (2013), a series of seven delicate drawings on fine white handkerchiefs.  This represents new ground for Lahav, and The Garden has provided her with a liberating space to experiment and invent.\u201d<\/p>\n\n\n\n


 Craig Ashley, Exhibition curator mac Birmingham, 2013<\/em><\/strong><\/p>\n\n\n\n

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