Venus of Urbino by Titian

The Nude Maja by Goya

Reclining Woman by Modigliani

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Environmental Sculpturing
Study Of Indian Sculpturing
About Or-nah

Reclining Woman

In the analysis of the artwork of a reclining woman, I imagine numberless scarves, almost transparent, sinking one inside the other in a whirlwind. On every scarf, there is a clue, a color or a line, and little by little the creation takes shape into a solid whole. There are scarf which bear the mark of the artist’s soul, on which her memories, her aspirations can be found; on others her cultural knowledge has collected. This is what the artist transmits; and there is the medium that the message is passed through, the material; and after the material has been selected the artist has to find out how to work with it.

In environmental art, there is the additional restricting treasure of scarves with the print of the surrounding – study, discovery of the many aspect of the environments, reaction to it – the image of the terrain, historic memories and mythology, life bubbling in the living nature, in the vegetation, the human-built creation, the structure of the ground cover, the climate, landscape seen from there.

The creation takes its source in an artistic chain of artists’ relation to the Woman in the reclining position: Sleeping Venus, by the Italian artist Giorgione, Venus of Urbino, by Titian, The Nude Maja, by Goya, Reclining Woman, by Modigliani, Drains of women / guitars by Picasso, Hollow sculptures of women by Henry Moore. All come together and grow into a mythic mute reclining woman in the desert. In the desert where Nature is revealed in all its primitive, untouched very self.
You are invited to come, to get into it and climb on it.

The Reclining Woman is lying, mute, but it is all full of movement: a flow of lines and volumes, a permanent change of texture, changing colors.
The environment is expressed again in the building material. The sculpture is built out of pebbles from the Tsin torrent, eroded dolomite boulders and flint layers from the plateau, added to a handful of colored stones from Arad.

The building technique, a simple masonry work, is another way of blending into the environment, this time the client's administrative environment. Blending right in the middle of contracting development works, realizing that an ordinary main contractor in Israel is unable to perform a work that requires special professional skills. The sculpture was built on site, by collecting local stones, in a mortar and concrete construction work, using a tractor to lay the rocks.

There is also a social environmental aspect in the coming together of the contractors, the workers and passing by people. Everyone brought in his own contribution. During the half a year period of the execution (which suffered delays for security reasons), all the contributors went through a strong meeting experience with the artwork, an experience which has been absorbed into the final achievement.

Or-nah tells: "In the Muslim tradition, contrary to the Jewish tradition, it is strict and it is totally forbidden to create a manlike or animal figure. At the beginning of the building period, the workers were skeptical and shocked, but as we progressed they understood the meaning of the creation and reacted with diverse reactions. One of them, once he understood that the sculpture is a woman, walked away because of the religious prohibition. Another one climbed to her chest, announcing that he would never come down, and others felt good being so many men on one woman".

The Reclining Woman is related to the rich environment in an unparalleled manner, not merely as a woman lying in the desert, built of desert stones. It also espouses the posture of a viper moving on the ground and the end of a lizard tail; the light marlstone hills blend into dolomite rocks; a tourists’ observatory over the Tsin valley, looking like ruins of a Nabataean route stronghold; a glance in the direction of the washing channel when the stream is flooding, goes over the marlstone hills, the flint plateau and far away onto the Mounts of Edom.

Sitting east from the statue, on a rock that seems randomly laid there, looking through the arch onto the woman reclining on her back, an opening which is also below her folded leg, and also an opening toward the woman, one sees the twisting of the rail leading to the paved path, in a slant to the Observatory; before a background made of the flat Arava plain landscape and, beyond it, the Mounts of Edom, (brown) tones whirl over (white smooth) boulders, communicating eternal stability, and they change into (white) riverbed pebbles and (black) flint fragments, and on into (red) Arad stones; softness gave way to strength, the flow got stable, the small is supported by the large, the close by becomes far away.

Globes – Design, October ’95, No. 26

West to the Nahal Tsin Bridge on Highway No. 90, 2.6 km south of the Arava Junction.
23 meters long x 5 meters high.
The stones were gathered from around the sculpture
Ordered by the National Roads Company

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