MoNĀLiZa (mona lisa)


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MoNĀLiZa (mona lisa) 20xx

Mona Lisa is undoubtedly the “holy grail” of art, and there is nothing more challenging an artist than making his version of the legendary Mona Lisa. my Mona Lisa is called “monāliza” and it is so different from Da Vinci’s painting but yet the same, maybe fewer trees and oil paint but it is still in the same language artistically.

thinking about Da Vinci’s passion to write his books in mirror writing, a cool way to see his reader’s point of view, I’ve chosen to do the same with current day-to-day materials, thru the eyes of the reality of our times. So this time, I wanted to convey the realities among reality in 2019 and fling them with the art and values of today’s society, just as da Vinci did in the 14th ct.
well, one day I worked with concrete casting for my old gallery back in Israel, and my Monāliza was resting in the studio and dusting for over 3 years without a clue how to finish her, then while I was playing with big-boys games with concrete and cement monāliza was calling me to come, and I started pouring it out of sesame stones, sand, and cement, the same materials with which the concrete foundations of the early 2020 aristocracy. I wore monāliza with torn communication wires to emphasize our ways to connect anywhere in the world, and we can’t even communicate with each other. her eyes in the original piece are “looking at you from every angle you look,” are symbolized by the eyes of the “big brother” we are being CENSORED, in the same way that we are too fed every day, the same as we censor things as we please to others. monāliza’s hands signify calm, made of a stain-colored plaster associated with prisoner clothing in the US, so we are coercively peaceful, moving within our disquiet as prisoners of government “within the realm of possibility” otherwise we lose our so-called “freedom”.
monāliza’s red lips are sculpted in red sand and are aside to show that even in our society people regularly bury their words (their words = their truth) in the sand, and whisper what the other expects them to say, so it’s like we are mumbling nonsense. Within my monāliza’s attire, I cast roughly iron rails pieces over white-as-snow silicon, to show the differences between human classes, which simulate also railroad tracks, to illustrate how sometimes people who think they are climbing up the scale and step on people on the way to no-where.
the background of Mona Lisa is the pastoral background of that time, monāliza background is the skyscrapers surrounding us as a gray-topped landscape in concrete castings that I uncovered (part of a perpetual imperfection in perfection) and what came out that for about a couple of months and two years, I build and paint and create the foundations of our society, the high, judicious bourgeoisie, who zealously adhere to art, which, God forbid, if I was painted a portrait or replica I would be crucified on a cross tree for sure. so this is my stone humble monāliza is a completely different interpretation, in my bold and naked language, really my own, in a revealing way how I would represent the spirit of the period in my art, with my monolith, “The Femme Fatale” in my private “Louvre”. This work of art sometime in the next centuries to come will represent our time and spirit in the 2020s… within a corona-time and miscommunicating society.

materials:  acrylic, wood, plaster, metal, glass, sand, resin, communication cables, metal plates, wool on canvas
size: 28”x 48” x 2”
years: 2016-2023
weight: 50 lbs
work capacity (painting): ~190 hrs est.
learning (Study): over 250 hrs
ārcanes: necrōmancy, transmutātion, Illusiōn, summōnning, divinātion, religiōn, ālchemy



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