12gc Stripe Shirt, Gali Cnaani, cotton, copper, polyester, 33” x 26.5”, 2013, $4,500
8gs Red Dress, Gali Cnaani, copper, cotton, 21.75" x 14", 2006, $2,400
9gc Fall, Gali Cnaani, copper, cotton,2' x 10.75", 2006, $2,700
2gc Untitled, Gali Cnaani, 16.5" x 18" x .1.5", 2006, $2,200
10gc Untitled, Gali Cnaani, felt, 27" x 22", 2007, $1,700
4gc Wrinkled Dress, Gali Cnaani, copper, cotton, 18.125" x 16.5" x .1.5", 2006, $2,200
Selected collections and exhibition venues: Victoria and Albert Museum, London, UK (with AIDA-Association of Israel’s Decorative Arts); Israel Museum, Jerusalem (Lights - An Exhibition in Conjunction with the Adi Foundation Project on Light and Matter, permanent collection); Central Museum of Textiles,?ódz´, Poland (11th and 14th International Triennial of Tapestry); Tel Aviv Museum of Art, Israel (Sleeves, permanent collection); Nuno, Tokyo, Japan; Ashdod Museum of Art, Israel (Winners 2012: The Ministry of Culture Prize in Art and Design); Munich, Germany (Textil aus Israel); Como, Italy (Miniartextil); Gallery, Gallery, Kyoto, Japan (solo exhibit); Eretz Israel Museum, Tel Aviv (Woven Consciousness: Contemporary Textile in Israel); Arctic, Ramat-Gan Museum of Israeli Art, Israel. Lecturer: Bezalel Academy of Art and Design and Shenkar School of Engineering and Design. Awards: Design Prize, Israel Ministry of Culture; The Andrea M. Bronfman Prize for Contemporary Crafts 2013; America-Israel Fund for Young Artists, 1995, 1999.
My works are an expression of the process I'm going through in searching of the "line," checking the linear structure of weaving. I was always fascinated by the power of time revealed to us by its effects on materials, some looking indestructible in the present. The forces of erosion, wear and decay, destroy, but also create new patterns and surfaces. The works can be described as a compressed timeline of creation and destruction. Another aspect of my work is trying to explore the light and its affects on the exposed copper threads.
The personal line is revealed during the exposure of the weaving construction. It's a guided process of destruction that leads back to creation. Some of the fabrics are woven first of very thin cotton and copper threads, then put through different processes of burning out, which expose the skeleton of the fabric. In others, I also use rust on felted wool in order to draw figures, or express the footprints of time.
A stay in Japan (I was studying textile design there for two years), is a source of inspiration. I was affected by Japanese aesthetics, nature, the rhythm of life and the amazing combination of tradition and technology. The main inspiration are the traditional Japanese techniques. I use them, usually adjust them, in order to create something new that will represent me as a Western artist.