07.11.2019 - 30.11.2019
Inbar Horkany - KIME
Noa Traub - SEA STRIP
Exhibition - Kime
Curators: Tamar Eisen Goldstein, Sivan Finesilver-Yuran
The living room of the Horkany-Zini family home was appropriated to serve as Inbar’s studio. High ceilings, a patterned floor stained with paint, and several clusters of artworks in various stages of development. This is where she returns, to continue conversing with her characters, a conversation that began on the street or in a café, which are also a kind of home for her, or with a friend, neighbor, or colleague. The grimy and dilapidated margins of central Tel Aviv are infused with adrenaline and magic, and her characters are hungry for action, breathing them in deeply, as if feeding off them.
The painting usually originates in an aesthetic and lovely scene. It could be an image from Instagram, the newspapers, or a commercial. It may be a gorgeous magazine cover girl in a photo that fascinated her years ago, or a social media image of the “good life”. This type of beauty overwhelms us today, to the point of revulsion. It’s easy being pretty, but being charming requires a hint of ugliness. Horkany does not exactly paint these images. More accurately, she pursues them. She translates them into painting with intensity and force. Another layer, another stroke of the brush, another line or shade. She covers and covers to leave them naked. Nothing remains of the façade, the taut skin, the fakeness or flawless body. What remains are fiercely expressive figures, angry, sad, and haunted, their mouths askew and asymmetrical, heavy bodied. Perhaps what is truly is left are not precisely figures but the demons who torment them.
Her technique is ferocious. Horkany paints on any surface at hand: plywood boards, cardboard, things found on streets. She does not practice “Want of Matter”; quite the opposite, she has a sense of urgency to paint over everything, to resist the material, forcing it to speak. Her characters are equally raw, ferocious, and harsh. They do not look at us, not really looking at anything, separate from time and space. Horkany deliberately leaves them incomplete. The painting is finished when her urge to paint is satisfied. The bold brushstrokes, the impossible coloring that constructs and dismantles the figures, are reminiscent of works by Kokoschka. This is not the only reference to early 20th-century Expressionism. Horkany’s drawings bring Egon Schiele to mind. Strong lines, at times childlike, at times hollering and enraged, she draws human and animal figures. She learned an important lesson from Schiele: a line could be coarse or crude. It could also hurt. A line could be erotic.
Horkany once held the world championship in karate. She still approaches painting as one wades into battle. Karate champions aspire to reach Kime: a state of extreme concentration in which all physical power and mental energy focus on contact with one’s opponent. This is how Horkany paints: homing in on the figure in front of her, seeking to expose it, to find her kernel of truth.
(Translated from Hebrew by Mor Ilan)