"Blowing Up Their Cover Stories" is a modular triptych that delves into the intertwined narratives of language, symbolism, and the intersection between creation and destruction. The artwork reflects on the delicate balance between beauty and violence, revealing the foundational aspects of the painting process. Through gradual transitions from sketch to underpainting to fully rendered forms, the piece captures evolving narratives, where destruction and transformation highlight the visual similarities inherent in both creation and disintegration. Featuring a hand grenade, a pomegranate, and a pineapple, the triptych underscores the surprising connections between these objects through their linguistic roots and visual resemblances. A 3D replica of a WWII Mk 2 "Pineapple" hand grenade is integrated into the artwork, mirrored by an exploding pineapple and a bruised pomegranate, alluding to the French term "pomme grenade," meaning "apple with seeds." The title, "Blowing Up Their Cover Stories," plays on the idea of unveiling hidden truths, much like the linguistic origins of the word "grenade," which reveals the imagery that inspired its naming. The triptych further examines the interplay between two-dimensional and three-dimensional elements, challenging traditional boundaries of painting. The layering of forms, composition, and materials symbolizes the evolution of ideas—from conceptual sketches to fully realized works—while simultaneously evoking a sense of both creation and destruction. The integration of 2D and 3D elements, along with the visible artistic process, underscores the complexity of creation, both in art and in the narratives we construct.

Efrat (Effi) Baler-Moses

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ARTIST'S STATEMENT I am a multidisciplinary and concept driven artist, reshaping paintings through the creation of 3D sculptural paintings and reliefs. I create hybrid constructions that challenge the boundaries of traditional painting, blurring the lines between painting and sculpture. I try to expand the spatial presence of paintings by implanting uncommon elements and dimensions, offering a fresh perspective that reimagines their traditional place within the art form. ​ The artworks transcend conventional wall displays and incorporate three-dimensional elements that shift on, beneath, or behind the canvas, revealing and using the backsides of the canvas and the canvas stretcher. The artworks are displayed on walls, stands, pedestals, turntables or as floor-standing canvases that people can walk around or rotate, creating a more interactive experience. Forcing a change from the traditional way we view paintings. Recognizing the evolving dynamics of art consumption in today’s digital age, this departure from the accustomed static, contemplative frontal viewing is an attempt to change spectator’s habits. With attention spans dwindling because of overstimulation from immersive technologies, I try to create paintings that challenge and force a change in these habits and reshape the habitual fleeting viewing norms of the modern-day viewer of paintings. ​ In my hybrid creations, I blend traditional techniques, mediums, and tools with 3D elements and materials from outside the traditional painting realm, pushing the boundaries of what’s commonly considered painting. I offer insight into the inner workings of the artwork, revealing hidden physical and conceptual layers. Constructing and deconstructing the canvas, I expose pseudo-animations of the artist’s application and process, showcasing evolving forms within the artwork, layered meanings, and the artist’s brushstrokes, planning tools, and techniques. My exploration into blending different dimensions is shaped by my experiences as a transplant in diverse cultures, navigating the challenges of fitting in as a foreigner. The artworks visually convey the concept of dynamic entities undergoing transformations. ​ I draw inspiration for my artworks from various contexts, cultures, and disciplines, encompassing pop culture, current conflicts, cultural trends, gender advocacy movements, and personal and social issues. Using my distinct style, colors, and personal narrative, I embed subtle references that resonate uniquely with each viewer, inviting individual perspectives. Conceptually, my artworks always address the two pivotal components of a painting: application techniques of colors and forms by an artist and the frontal viewing of the outcome by a spectator. My art challenges preconceived notions of how we perceive a painting, creating an experience that goes beyond traditional passive, frontal viewing, challenging preconceived notions of how we perceive a painting, what a painting is, and can be, both within and beyond the confines of the wall.