Yifat Gat

Solo à Campus D'alzon, Nimes

Curator: Valerie Woillet

- XL papers, S papers. Tape wall work.

- marble dust on window

- body paint prints with Emanuel Gat Dance

photo by Julia Gat,

DUSK was a 2015 Project by Ky Anderson, an artist from NY

Ky embossed 5 sheets of paper and sent them to a small group of artists. We each received the same embossed papers, and sent her the work.

Dusk was later shown at:

-Gallery Molly Krom, NYC 2015

-Look&Listen, Saint Chamas. 2015

-The Artist-Run at The Satellite Show, Miami 2016

SEER - European Painting and Drawing , Tokyo, Japan. 2021

Curation by John France and Jan-Phillipp Fruehsorge .

The first image, display three of the works at a Gut Gallery client’s house. The two other works are still available.

DUSK

Acrylic and oil on paper

33.5x38.5 cm

2015

'Thick lines'

white poska on black paper

21x27,9cm

2017

white poska and black stickers on pink paper

21x30cm

2017

This idea of working black and white on brown stayed with me for a long time. this works deserves better pics, but im posting these in the meantime just to keep the spot. they are Posca on 65x50cm paper.

Graphite on light brown paper

21x27,9cm

2017

Three orange lines - *SOLD

Acrylic on paper

50x65cm

2017

tape and markers

on papers

28x21.5cm

2010

2018

"Rear Window"

Marble dust installation on the windows of the talk room

SLUICE 2015 OXO tower building , London .

Curated by Charlie Levine.

“The quintessential installation of the fair curated by Charlie Levine Sluice Art Fair director, incorporated works by Yifat Gat (who also runs the Black & White Project) and Katherine Di Turi . Using marble dust, Gat created delicate emblems in the mullioned windows of the space that ranged around three sides of a large room. Di Turi installed small, black-and-white photographs of antique mirrors on the walls between some of the windows. In each instance, what was seen within the framed pieces of glass was doubled, and still images were paired with moving. Gat’s Marble dust overlaid views of central London, bringing what was outside of the room inside. The glass protecting Di Turi’s photographs also reflected figures as they moved about, placing the space of the room within the confines of her frames. experienced that last-noted installation with only a handful of other viewers present, and we all commented on the magic of its rough simplicity. That is, of course, what distinguishes Sluice from Frieze. At the former, roughness and simplicity are contrivances that provide a whiff of “authenticity,” when Frieze truly legitimizes what money can buy or is willing to endorse. Sluice offers the possibility of art actively transforming your time with it — no money required.”

Janet Tyson of Hyperallergic