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Belu-Simion Fainaru
Creation's Details
Title: Elijah’s Chair “Jerusalem” 
Year: 2001
Dimensions: 65x90cm
Material: Jerusalem stone

Elijah’s Chair “Jerusalem” is made of Jerusalem stone and has two pieces. The two pieces are a combination of the letters, yud, and mem, which create the word - yam (sea) - and which is also the abbreviation of the city of Jerusalem. The chair defines the traces of the body and the "present absence”. The tension latent in the image of Elijah’s chair was created by the contrasts of absence and presence, the abstract and the concrete and the mutual relationships between the divine and the earthy. The chair is used for circumcision.
The word for circumcision - mila - is derived from the root, mol- to cut, but other meanings also echo – speech (from the root – melel) and also placing one thing against another thing, face to face (panim mul panim). The circumcision symbolizes the covenant between God and His nation; Something is removed from the infant’s body during the ceremony, so that he can experience the missing piece. The experience of something missing and the lack of wholeness will guide him to aspire to continually build and renew. Words and language are a substitute for the empty space created as a result of God’s constriction that resulted in the creation of the world. The empty space created as a result of the removal of the uncircumcised part is a symbolic act, and it in turn creates an imaginary place that crosses the borders of the visible. It is as though the invisible God is retreating so as to let man return to himself via his word. God is absent and what remains is the text and the book. Meditation in the book is meditation face to face of the Jew and God. The meaning of the text is the path to God’s word, the silence, the invisible. The letters yud and mem which create the chair are a symbolic expression of the mutual relationship between the divine and the earthy, the abstract and the concrete. The present absence in Elijah’s chair is the attempt to concrete an embodiment of the divine, who creates with the light of abstraction, concretization and symbol. The present absence in Elijah’s chair is perceived in Hebrew (sacred language), shared by man and God. The borders of sanctity are expressed figuratively through the letters that serve as a two-directional passage between the abstract and the infinite toward the final concreteness, and from the concrete to the abstract and the earthy to the divine.

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