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530 West 25th Street, New York, NY  Tue - Sat, 11am - 6pm
530 West 25th Street, New York, NY  Tue - Sat, 11am - 6pm
530 West 25th Street
Tue - Sat, 11am - 6pm
Yoram Kafkafi
Roots and Wings
Agora Gallery
530 West 25th StreetNew York,NY
Previous Artist
  • Trees
Photograph on Aluminum
20" x 30"   Trees
    Photograph on Aluminum
    20" x 30"
    Yoram Kafkafi

  • On the Edge
Photograph on Aluminum
24" x 36"   On the Edge
    Photograph on Aluminum
    24" x 36"
    Yoram Kafkafi

  • Petrified II
Photograph on Aluminum
24" x 36"   Petrified II
    Photograph on Aluminum
    24" x 36"
    Yoram Kafkafi

  • Petrified I
Photograph on Aluminum
24" x 36"   Petrified I
    Photograph on Aluminum
    24" x 36"
    Yoram Kafkafi

  • Divided
Photograph on Aluminum
20" x 30"   Divided
    Photograph on Aluminum
    20" x 30"
    Yoram Kafkafi

  • Contrasting View
Photograph on Aluminum
24" x 36"   Contrasting View
    Photograph on Aluminum
    24" x 36"
    Yoram Kafkafi

  • View from the Top
Photograph on Aluminum
24" x 36"   View from the Top
    Photograph on Aluminum
    24" x 36"
    Yoram Kafkafi

  • Abstract
Photograph on Aluminum
20" x 30"   Abstract
    Photograph on Aluminum
    20" x 30"
    Yoram Kafkafi

Next Artist
Yoram Kafkafi

YORAM KAFKAFI

Roots and Wings
March 2 – March 22, 2019
Reception: Thursday, March 7, 2019 6-8 PM

Formerly of Scarsdale, NY and currently based in Israel, the photographer Yoram Kafkafi works primarily in a documentarian mode. In his “Genesis 1:1” series, Yoram captures desert landscapes, focusing on the Namibian sand dunes. His imagery touches on a sense of impermanence, as viewed through society's collective eye, and sheer awe of the natural world around us. Utilizing techniques of light and shadow, the architectural mass of a phenomenon like a sand dune becomes a symbol of what it means to inhabit planetary space. With sand as his primary subject-matter, Yoram is tasked with showing how stability can emerge, as well as showcasing the frailty human constructions have in the face of entropy.

Yoram recreates not just the alienated majesty of sand dunes, but consecrates them as a force against which human endeavors seems miniscule. When figures are present, they are dwarfed by the monumentality of the dunes. In Trees, for example, trees as well as roads are perspectively placed before a dune, taking on a numinous quality—as though furtively dancing before the dunes’ apparent stillness. Likewise, On the Edge draws our eye to the juxtaposition of the two tiny figures carefully balanced along the delicate line of the vast dune. Yoram's more abstract compositions speak to a similar theme: however impossible such images might look at first sight, they capture the mythic grandeur of impermeable motion clashing against a natural stillness.



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