Home Page
About
Sculpture
Father - ceramic 2010-11
Sculpture garden in Yuvalim
Indoor Installations
Israel Museum 1981
Icons 1994-5
Cocoons 1998
Shells 2001
Ex-Voto-Golden Leaves 2002
Landscapes 2005
Juego de Pelota 2005
Panorama 2004
kites 2008-9
In the footstep of the terra cotta warriors 2010
Prepration- self shelter 2010-11
Outdoor Sculpture
Golgotha
Landscape Windows
Human Fossils
Steps to the Sky
Monoliths
Netted Rock Portraits
Trees Sculptures
Pipes and Rocks
Invironmental Art
Back to sea - Arsuf 2012
India 2012
Karmiel-Tefen road 1993-94
Austria 1989,94
Emek Yizra'el College 1988,1994
Mitzpe Ramon 1986
Memorial sites
Moledet 1977
Parod 1979
Ein Harod Me'uhad 1984
Lohame Hageta'ot 1987
Bet Zera 1987
Tirat Zvi 1989
Yuvalim 1997
Misgav 1999-2006
Mixed Technique Sculpture
Basalt and other materials 1980-1990
Colored sculptures 1991-2
Portraits 1995
Chairs 1996
Ships Skeletons 1999
Wheelchairs 2006
Two dimension
X-rays drawings
Latest Works
Uneven Gate - India - 2012
Negative Portraits
Exhibitions
Father - ceramic 2010-11
Latest Exhibitions
Erosion 2012
Dalia at work
Contact
  Indoor Installations > In the footstep of the terra cotta warriors 2010  
 

Remains of the Terracotta Order
 
Dalia Meiri's installation was conceived in the first person plural. The artist replicated parts from her own body and her husband's body, which she transformed into anonymous soldiers standing on parade, held in place by steel rods, as part of a human formation that has survived. Columns upon columns, they stand at the ready, naked, their gazes fixed forward vis-à-vis the vulnerability of their bodies. The clay chips with which they are covered remind us that man's true battle is against the unknown time span allotted him: "For dust thou art and to dust thou shalt return."
The installation was inspired by the terracotta army which Meiri saw in China two years ago in the Emperor's Tomb in Xi'an, which left a strong impression on her. These life-size terracotta warriors were created more than two thousand years ago, to protect Emperor Qin Shi Huang on his journey to the next world and were positioned around his tomb. Some seven thousand archers, swordsmen, and cavaliers stand ready for battle. The endless work involved in the construction of these troops took a heavy toll on the people. After the Emperor's passing the rebels, angry for his cruelty, broke into the tomb and smashed much of the clay army with their swords.
The terracotta fragments which survived from this ambitious endeavor to construct a grand army struck at the very heart of the theme interesting Meiri as an artist: the greatness and insignificance of human existence. Even prior to her visit to China, Meiri created a series of installations which addressed the strength and frailty of the human body. In Ex Voto—Golden Leaves (2002) presented at the Museum of Art, Ein Harod, she cast monumental body skeletons of a man and a woman inrebar, to which she attached golden "body masks" akin to offerings, or possibly death masks. Body sections also appeared in the installation Landscapes presented in 2003-04 at the Commemoration Center Gallery, Tivon. A fortified wall was constructed from concrete casts of a male (her husband's) torso placed one atop the other along several meters.
The human wall she erected strives to explore the notion of "manpower." Meiri always confronts power in relation to man. Thus, for example, her large-scale stone sculptures adapt nature to a human scale. When she left her stone sculptures to return to sculptures of the human body, Meiri related to the body as if it were a structure, although not necessarily a permanent one.
The figure shells in the terracotta shards parade are united; for a split second it seems that their joint power suffices, but the power in the installation stems not from the body's strength, but rather from recognition and acceptance of its ephemerality. The installation invites one to explore the configuration of external forces as opposed to man's inner powers, those that are not perishable…
 
Shir Meller-Yamaguchi, Curator

      
12
תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה -
 
דף הבית
קורות חיים
פיסול
גן הפסלים ביובלים
מיצבים
מוזיאון ישראל 1981
איקונות 1994-5
גלמים 1998-9
קליפות 2001
אקסווטו עלי זהב 2002-3
נופים 2004
משחק הכדור 2005
פנורמה 2004
עפיפונים 2008-9
מסדר שרידי החרס 2010
מ"מד אישי 2010-11
פיסול חוץ
פיסול סביבתי
אנדרטאות
פסלים בטכניקות מעורבות
דו מימד
עבודות אחרונות
תערוכות
תערוכות אחרונות
דליה בעבודה
צור קשר
עיצוב ובניית האתר meiriyuvalim@gmail.com כל הזכויות שמורות לדליה מאירי - נייד: 0544-331965 מספר מבקרים
studio-viti 93,379
Home Page
About
Sculpture
Father - ceramic 2010-11
Sculpture garden in Yuvalim
Indoor Installations
Israel Museum 1981
Icons 1994-5
Cocoons 1998
Shells 2001
Ex-Voto-Golden Leaves 2002
Landscapes 2005
Juego de Pelota 2005
Panorama 2004
kites 2008-9
In the footstep of the terra cotta warriors 2010
Prepration- self shelter 2010-11
Outdoor Sculpture
Golgotha
Landscape Windows
Human Fossils
Steps to the Sky
Monoliths
Netted Rock Portraits
Trees Sculptures
Pipes and Rocks
Invironmental Art
Back to sea - Arsuf 2012
India 2012
Karmiel-Tefen road 1993-94
Austria 1989,94
Emek Yizra'el College 1988,1994
Mitzpe Ramon 1986
Memorial sites
Moledet 1977
Parod 1979
Ein Harod Me'uhad 1984
Lohame Hageta'ot 1987
Bet Zera 1987
Tirat Zvi 1989
Yuvalim 1997
Misgav 1999-2006
Mixed Technique Sculpture
Basalt and other materials 1980-1990
Colored sculptures 1991-2
Portraits 1995
Chairs 1996
Ships Skeletons 1999
Wheelchairs 2006
Two dimension
X-rays drawings
Latest Works
Uneven Gate - India - 2012
Negative Portraits
Exhibitions
Father - ceramic 2010-11
Latest Exhibitions
Erosion 2012
Dalia at work
Contact
  Indoor Installations > In the footstep of the terra cotta warriors 2010  
 

Remains of the Terracotta Order
 
Dalia Meiri's installation was conceived in the first person plural. The artist replicated parts from her own body and her husband's body, which she transformed into anonymous soldiers standing on parade, held in place by steel rods, as part of a human formation that has survived. Columns upon columns, they stand at the ready, naked, their gazes fixed forward vis-à-vis the vulnerability of their bodies. The clay chips with which they are covered remind us that man's true battle is against the unknown time span allotted him: "For dust thou art and to dust thou shalt return."
The installation was inspired by the terracotta army which Meiri saw in China two years ago in the Emperor's Tomb in Xi'an, which left a strong impression on her. These life-size terracotta warriors were created more than two thousand years ago, to protect Emperor Qin Shi Huang on his journey to the next world and were positioned around his tomb. Some seven thousand archers, swordsmen, and cavaliers stand ready for battle. The endless work involved in the construction of these troops took a heavy toll on the people. After the Emperor's passing the rebels, angry for his cruelty, broke into the tomb and smashed much of the clay army with their swords.
The terracotta fragments which survived from this ambitious endeavor to construct a grand army struck at the very heart of the theme interesting Meiri as an artist: the greatness and insignificance of human existence. Even prior to her visit to China, Meiri created a series of installations which addressed the strength and frailty of the human body. In Ex Voto—Golden Leaves (2002) presented at the Museum of Art, Ein Harod, she cast monumental body skeletons of a man and a woman inrebar, to which she attached golden "body masks" akin to offerings, or possibly death masks. Body sections also appeared in the installation Landscapes presented in 2003-04 at the Commemoration Center Gallery, Tivon. A fortified wall was constructed from concrete casts of a male (her husband's) torso placed one atop the other along several meters.
The human wall she erected strives to explore the notion of "manpower." Meiri always confronts power in relation to man. Thus, for example, her large-scale stone sculptures adapt nature to a human scale. When she left her stone sculptures to return to sculptures of the human body, Meiri related to the body as if it were a structure, although not necessarily a permanent one.
The figure shells in the terracotta shards parade are united; for a split second it seems that their joint power suffices, but the power in the installation stems not from the body's strength, but rather from recognition and acceptance of its ephemerality. The installation invites one to explore the configuration of external forces as opposed to man's inner powers, those that are not perishable…
 
Shir Meller-Yamaguchi, Curator

      
12
תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה - תיאור התמונה -
 
דף הבית
קורות חיים
פיסול
גן הפסלים ביובלים
מיצבים
מוזיאון ישראל 1981
איקונות 1994-5
גלמים 1998-9
קליפות 2001
אקסווטו עלי זהב 2002-3
נופים 2004
משחק הכדור 2005
פנורמה 2004
עפיפונים 2008-9
מסדר שרידי החרס 2010
מ"מד אישי 2010-11
פיסול חוץ
פיסול סביבתי
אנדרטאות
פסלים בטכניקות מעורבות
דו מימד
עבודות אחרונות
תערוכות
תערוכות אחרונות
דליה בעבודה
צור קשר
עיצוב ובניית האתר meiriyuvalim@gmail.com כל הזכויות שמורות לדליה מאירי - נייד: 0544-331965 מספר מבקרים
studio-viti 93,379