週日. 10 月 2nd, 2022



Photographer Michael Amar


“Earth Poetica 地球詩篇 ” 

credits from movie still provided by Artist Studio


Photographer Divyakant Solanki


幾年前,藝術家Beverly Barkat 受到一群孩子在充滿垃圾的海攤撿拾的畫面而震撼,她感到“我們正在讓地球窒息”。此後,她開始構思一個創作計劃,希望能「打破人與自然之間的隔閡,從而改變人們的認知或習慣」。

During one of her travels a few years ago, Beverly Barkat was struck by an image of children scavenging on a once-beautiful beach awash with plastic waste. She saw our planet Earth suffocating by our own deeds. Her current large-scale project Earth Poetica stems from those events, hoping to raise awareness of plastic pollution, to “break down the barriers between people and nature in a way that will change perceptions and perhaps habits.”

Photographer Oren Ben Hakoon


Photographer Michael Amar


2019年起Barkat 將更宏大的國際議題探討,加入她的創作中,在過去三年,她蒐集並積累了來自世界各地的塑料垃圾以及廢棄漁網,即使期間受到COVID-19全球疫情影響,仍不間斷,直到2022年將這些垃圾轉化成她作品“Earth Poetica”, 這是一個直徑四米,有著真實大陸和海洋比例的地球裝置藝術,以竹節為骨架,由金屬框架面板和填充塑料組成,球體外部閃爍著令人驚嘆的美麗海洋與陸地,但當從內部近距離觀察時,是充滿塑料袋、瓶子、漁網和消費品包裝的混亂漩渦,一個醜陋的真相,觀者可以爬上去從上面看到它,窺視裡面或坐下來思考。

Over the past three years, Barkat has been transforming plastic waste into a giant globe, four meters in diameter, representing our planet Earth. During the   global Covid-19 pandemic, she has been collaborating with individuals and communities around the world who have been collecting and sending plastic wastes to her studio in Jerusalem. She used soy resin to transform the waste into panels that were then put in metal frames and mounted on a bamboo structure. Earth Poetica, a globe reproducing the continents and oceans in their proper proportions, glistens with breathtaking beauty.

Photographer Michael Amar
Photographer Leopold Chen


Viewed from afar, it looks like a jewel, but when the viewer comes closer and looks within, the truth is revealed: the inner surface is a chaotic maelstrom of tufts and jagged fragments of plastic bags, bottles, fishing nets, and consumer packaging. Viewers can experience the work from different angles: they can take a bird’s-eye perspective, they can peek inside, or just sit nearby and contemplate its message.
Photo credits Amit Elkayam


Photo credits Amit Elkayam


在2022年4月22日世界地球誕生的日子,象徵平等與和諧共存的這天,與您分享來自以色列藝術家Beverly Barkat 喚起人們對環境反思,獨具意涵的“Earth Poetica”作品,在疫情持續影響的當下,相信更能增強人們對這個作品理念之理解,如同Barkat所描述:「病毒和塑料垃圾一樣,不分國界。」

April 22 is Earth Day, a day that symbolizes equality and harmonious co-existence between the human race and the planet that we all inhabit. On this occasion, [we at] Da Xiang Art Space gallery would like to share Beverly Barkat’s work Earth Poetica with you. It conveys a very unique message, inspiring us to reflect upon our environment.

Photo credits Amit Elkayam

以上改編&節錄自紐約TIME 時報雜誌報導

The above is adapted & excerpted from a feature article in The New York Times.



“Earth Poetica”,此作品現正於以色列耶路撒冷戈特斯曼家族水族館(The Gottesman Family Jerusalem Aquarium) 展出中,展期至2022年10月,之後將前往美國紐約曼哈頓”ground zero”建築附近的世界貿易中心大樓。

Earth Poetica is a globe four meters in diameter with Earth’s continents and oceans. It is currently on display at The Gottesman Family Israel Aquarium, in Jerusalem, until October 2022. It will then travel to the United States to be exhibited in the World Trade Center building near Ground Zero in Manhattan, New York.

About Artist 藝術家介紹 ~~貝弗利•巴爾卡特(Beverly Barkat)
Photo credits Tor Ben Mayor
1966年出生於南非的以色列藝術家貝弗利•巴爾卡特(Beverly Barkat),作品曾在以色列、日本、義大利、美國等地展出,Barkat最初以黏土,金屬和玻璃為主要創作媒材,之後參加由耶路撒冷工作室學校的以色列 • 赫什伯格(Israel • HERSHBERG )主持的大師班激發了繪畫和油畫創作的轉變,早期作品多為西方傳統具象風格,自2009年左右,她正式轉向了抽象創作,開始對人物進行解構,並同時使用動態線條捕捉二維表面物質能量之流動,2014年,她受日本書法啟發的繪畫系列在京都第28屆國際藝術與設計展覽會上獲得策展人獎,2017年第57屆威尼斯雙年展,使用的透明“畫布”創新媒材PVC薄板,在格里馬尼宮舉辦國際個展“Evocative Surfaces”。

Beverly Barkat (born 1966 in Johannesburg, South Africa; lives and works in Jerusalem, Israel) has held exhibitions in Japan, Italy, the United States, and other countries around the world.Initially her preferred media were clay, metal, and glass but participation in a master class led by Israel Hershberg at the Jerusalem Studio School inspired a shift to drawing and oil painting. Barkat’s early works were largely figurative and in keeping with traditional Western genres. Around 2009, she turned toward formal abstraction, deconstructing the figure and capturing movement with dynamic lines on a two-dimensional surface. In 2014, her series of paintings inspired by Japanese calligraphy earned her the Curator’s Award at the 28th International Exhibition of Art & Design in Kyoto. In 2017, she introduced the innovative medium of PVC sheets—her ‘transparent canvases’—in her first international solo exhibition, Evocative Surfaces, at Museum Palazzo Grimani in Venice during the 57th Venice Biennale.
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