"Blown Away by a Namesake" explores the duality of the hand grenade, highlighting the surprising etymological connection between the weapon and the fruit. This diptych features two canvases, one tilted above the other. The lower canvas showcases a detailed pomegranate tree, with leaves surrounding red pomegranates. Some pomegranates hang from branches, while others appear suspended, seeds erupting outwards. These seeds resemble sparks from a detonation, blurring the lines between fruit and weapon. A three-dimensional toy hand grenade is wedged between the canvases, obscured by paint. On the slanted canvas, a work in progress unfolds: loose brushstrokes build the form of a WWII hand grenade with cartoonish, wobbly outlines similar to the flying pomegranate seeds on the other canvas. The title, "Blown Away by a Namesake," refers to the connection between hand grenades and pomegranates. The word "grenade" comes from the French phrase "pomme grenade," which literally translates to "apple with seeds." In many other languages, the hand grenade is named after the fruit, emphasizing the unexpected connections within our world and the potential for beauty and destruction to coexist. 2024 , Mixed media on canvas 27 x 22.5 x 3 inches

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.