IN THE WORLD WHERE GOD WEARS LIPSTICK | העולם שבו אלוהים לובש שפתון
The work is a patchwork composed of images of religious and political figures taken from media and street posters. It brings together people who move toward violence and those who resist it, within a shared religious field.
This field is not homogeneous. Both the figures themselves and their relationship to God appear plural and internally contradictory.
I embroider bright lips onto each face by hand. This gesture shifts the familiar image of male authority and raises the question of why the religious voice is most often represented through a male figure.
The title points to the possibility of imagining God differently not only as a male authority, but as a figure that allows for corporeality, external expression, and multiplicity. It is not about changing God, but about changing the form of representation.
The work includes scenes of protests against military conscription. In a system where masculinity is often tied to duty and force, refusal to participate in military logic can be read as a distance from violence.
Decorative elements, deliberately excessive and close to kitsch, are used as a way to reduce the distance to this image. Through them, I enter into dialogue with what does not initially belong to me, breathing into it corporeality and the experience of a different socialization.
soul is not a sublet
In this work, drug zip bags become containers for small textile houses.For me, addiction is a state in which a person lives in their body and in the world as if in a temporary place that does not truly belong to them.
The house inside the bag symbolizes inner support and an attempt to feel at home within oneself again.
zip bags, fabric, mesh, thread, stuffing, lint and dust from a dryer, clay, hand embroidery, textile appliqués, metal pins
i feel smth wrong in u but can’t grab it til
The project explores domestic violence as an environment rather than a single event. Silhouettes of female bodies made from cotton fabric, resembling police body outlines, are placed within the interiors of an abandoned building. Devoid of individual features, they function as traces, a record of a fact rather than the presence of a person.
Mold affecting the fabric becomes a metaphor for systemic violence that penetrates both the body and the surrounding space, continuing to exist even after the formal recognition of a crime. The project focuses on the consequences, silencing, and repetition of trauma, presenting the female body as absence and as an object of documentation.
by @atelier_mamali and @_polymer_
