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Uriel Miron
Creation's Details

Title: Nur oyf Simkhes
Year: 2006
Dimensions: 200x300x75 cm.
Material: 50 “Keter” plastic chairs, copper tubing, plastic cable-ties

 

Statement

Stackable plastic chairs are the "national furniture" of Israel, whether as a cheap and durable solution for outdoor seating or as a reserve of seats for occasions with many participants. Their primary purpose is seating for its own sake - usually in the company of others. Every chair is a receptacle for another chair, each leg a sheath for another leg, allowing the chairs to be stacked compactly one on (and in) the other.
The chairs' main purpose, namely communal seating, brings to mind gatherings (joyous and otherwise) that are part of the cycle of Jewish communal life. Thanks to these characteristics, the nested chairs present a rich image through which to explore the relationships between individual and community.
Each chair is a discrete whole, cast in one piece, not constructed from parts. At the same time, each chair demonstrates its membership in a group, since it bears indentations and troughs meant to embrace its "brethren." When positioned in vertical stacks, the chairs' community also consigns them to a certain isolation – by precluding the possibility of sitting on them, just as the excessive clinging of individuals to a particular community may isolate them from other communities.
In "Nur oyff simches", I treated the plastic chairs and their special characteristics as raw material for sculpture, breaking down the discrete chair-unit into fragments of various shapes and sizes and joining them with materials that serve as ligaments and arteries. Though uniquely shaped, each fragment retains the capacity to be stacked with others. The recombination of chair fragments modified the chairs' embrace so that their "togetherness" yields a dynamic, complex organism that still owes its existence to the consonance of its parts. These new, skeletal aggregates are greater and richer than any single complete chair, but they are also inherently incomplete, capable of continuous and unpredictable growth.
The materials in the two parts of the sculpture are genealogically related: the horizontal, reclining part is made of a chair model that has recently been discontinued after years of production, while the standing part consists of the new, redesigned version of the same model.

 

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