CANTV Prize, (Telephone Company of Venezuela),19th Salon of Visual Arts, Maracay, Venezuela, 1994.
(The sculpture shown on the 6th image)

Francisco Narvaez Prize for Sculpture, 52nd Arturo Michelena Salon of Visual Arts, Valencia, Venezuela, 1994.
(The sculpture shown on the 8th image)

CONAC Prize (National Council for Culture), 3rd National Biennial of Visual Arts, Mérida, Venezuela, 1994.
(The sculpture shown on the 9th image)


[…] The image of the box (container, ark) is especially prominent in the group of iron sculptures, the forms of which actually recall structures like a train, a grave, or an old camera, but it also appears in the images of the tombstones and the graves, as photographed by the artist and transferred to the paper by the photo-etching technique. This contiguity of the image of the box with the regions of death (cemeteries, archaeological ruins, Auschwitz), beside the presence of the act of photography, necessarily establishes meanings associated with the inevitable affinities among time, memory, photography and death. Roland Barthes, Vilem Flusser and many theoreticians of the twentieth century have dealt extensively with this issue. […]The heavy box-like iron sculptures recall instruments – mechanical objects that work on hinges – something between doors of a shelter an the bellows of an old camera. Some of them are made of iron frames inside which etchings held between two plates of Perspex have been introduced; others are made like cubes which can be drawn out each other, box within box, like a Russian doll; and some of them are spread out on the floor like matchboxes which in a game have become railway carriages or coffins. In contrast to the melancholy melody that runs through the etchings, here one hears a music that is not harmonious – sound of creaking, a steam engine braking on a railway track, a grating metallic friction.

[…]As Vilem Flusser puts it: “We can measure the length and breadth of the space we cross in thousands of miles, but until quite recently the height of our space only measure a few yards and its depth but a few inches. This wide and long but shallow box that is our vital space is better suited for geometry (measurement of the ground) than for topology (science of space), because it consist of two dimensions to which a third has been added. We upright worms think geometrically (…) this that box of ours stands still, and things move around within it. You might say that those things move with time, and that time blows through space like the wind trough a room with open windows”.

 Tami Katz-Freiman
Taken from “In Quest of the Lost Ark”
LIHIE TALMOR
WORKS ON PAPER
IRON SCULPTURES
1991-1993
The Artist’ House, Jerusalem, 1993