Born in 1969, Lives and works in Tel Aviv.
Solo Exhibitions & collaborations:
2019- Still Alive - after Chana Orloff, part of GREAT MOTHER four installations and a series of paintings,
Beit Uri & Rami Nehoshtan Museum
Kibbutz Ashdot Yaakov Mehuad
2018- On A Clear Day, Collaboration with Dorit figuvich Goddard and Adi Weizmann Barbur Gallery, Jereusalem
2018- Still Alive, Solo Exhibition in Zaratan Contemporary, Lisbon
2017- Olga, Beit Hankin Nature Museum, Collaboration with Dorit figuvich Goddard
2017- Cortigiana, Solo Exhibition, Kibbutz Gallery Tel Aviv
2015/16- Half Board, site specific Collaboration project, Hod Hasharon, with Dorit figuvich Goddard and Adi Weizmann
2012- Graduate's Exhibition, University of Haifa Educational Gallery
2010- The Homeless and the Bird,Collaboration with Rotem Tamir, Kibbutz Nachshon Gallery
2009- Dead Stock, The Artists' Studios, Tel Aviv
2008 -Starting Line, Rehovot Municipal Gallery
2003- The Digger, Start Art Gallery, Tel Aviv
2018- Not A Word, Beit Ha'amanim, Rishon Letzion
2017- D1 D2 D3 BY5 Gallery, Tel Aviv
2016- Present Allegories, Artists House,Tel Aviv
2015- Beuys, Beuys, Beuys, Beit Binyaminy, Tel Aviv
2015- Memorial to the Goyim, Hanina Gallery' Tel Aviv
2014 -Trapped, kibbutz galuyot local & political issues exhibition, Tel Aviv
2014- Under the Lamp, concept exhibition, Kibbutz Ein Shemer
2013- Ready,Set,Go, Exhibition of works and collaborative performance with the dancer Ronnie Heller, Janco Dada Museum, Ein Hod
2013-100 Years of Ready-Made- exhibition at the Haifa Museum of Art
2013- Painting Camp, Ramla
2011- Inside, Collaboration, Self curated, The Old Police Station, Tel Aviv
2011- ZemeIKEA, HaZuk Gallery, Netania
2011- Story Slam, Kishon Gallery, Tel Aviv
2009- Mid Nature, The Artists' Studios, Jerusalem
2007- Margoza Reward,Collaboration, Self curated, alternative venue on Margoza Street, Jaffa
2007- Where? Haifa, art event, Haifa
2007- Nisuy Kelim, Bikurei Haitim, Tel Aviv
2007- Sticky Dough, Bait Banamal, Tel Aviv,Collaboration, Self curated
2002- The Second Biennial for Ceramics, Eretz Israel Museum
2010-2012 MFA, University of Haifa, Fine Art Department
1998-2001 BFA, Bazalel Academy of Art and Design, Jerusalem
1996-1997 HaMidrasha, Beit Berl College of Art
1993-1995 Diploma in Press Technology Studies, Hadassah College, Jerusalem
Scholarships and Awards:
2018 Mifaal Hapais support for Artist Residency
2018 Shemi Atelier Support Residency Kabri
2016 Rabinovich Foundation scholarship for the exhibition Cortigiana
2011-2013 Artist in the Community Award, the Ministry of Culture and Education, through the Contemporary Art Stations Association, Ramle
2009 Rabinovich Foundation scholarship for the exhibition Dead Stock
1994 Kreger Scholarship for Outstanding Achievements, Hadassah College
From The Digger catalouge:
The invitation for Noa’s journey to the islands does not resemble Paul Gauguin’s
Journey to the tropical islands – “nave nave fenua. noa noa” – “wonderfull land – fragrant land”. It is more like a futuristic mapping of an unknown place lacking a geographical or historical landmark.
The islands were created on the basis of data & materials available in today’s “imagery bank” and it is possible we often encounter them without being able to recognize them.
The islands aren’t that impressive at first sight, they look like mountain tops with their summit’s alone rising above the abyss.
The islands surfaces are sieved with bumps and bubbles and organized in clusters.
A closer look reveals a biomorphic wrap, made of human body fragments, that has layed all over the space – wrapped, spreaded and scattered. The wrap is made entirely out of closed eyes, connected together and creating a lumpy mass.
Noa’s islands look like they belong to a semi-autistic world – a world that feels the need to wrap and defend itself for it seems everything around it has become too invasive and penetrating. A world swaying between opposite ends, in and out,
I & the world. The surroundings seem very vulnerable, almost disappearing in mist,
populated with invisible creatures like the ones virginia wolf discribed, ghosts rich with sensetivities, imagery & memories.
Against the melancholic and silent surroundings, ‘carnivorous’ flowers emerge on top of the islands, probably originating from a futuristic world, but, these flowers could very well burst in flames once the eyes emerge from their graves.
In the distance a lifegaurd’s hut is placed, and in it a transperant boxing sack full of red sticky material, waiting for the punches of the oncoming viewer.
The whole scene is orcastrated by the artist herself appearing in the video film.
She’s trying endlessly to empty a garden pool with a shovel.
In an etempt to solidify a third dimension of existence that does not exist in the individual nor in the real world, Noa’s trying to construct in her work a potential inbetween space.
From The Digger catalouge:
Eitan Ben Moshe
Noa's works grow from personal feelings. The language is private, and the powers underneath it build structures of surreal memory. The story, with its sober-minded surrealism [a woman digging the water of an urban garden pool, ("The Digger") a sand castle with teeth like rooks (the ceramics biennale, with Yonit Kamil)], lacks a glamorous fantasy and sticks to everyday life, like someone sentenced to dream with no imagination to create escape exits.
In this exhibition, the sack in the lifeguard tower emphasizes the incarceration sense with grease kisses with which it stamps the walls around- passion is punching the wooden walls.
The expendable\fragile materials Noa uses emphasize a sense of uselessness, the lightness of dealing with less binding materials is missing. The mirror flowers were made with great effort and will not last, and through the mirrors we see the empty space of the exhibition, the eyes shut under the flowers & the viewers eyes.
The sand castle facing a village of white roofs bore an autistic fascination with groundless pointless making, but the rawness of the structure and the burdensome size left no sense of relief.
The autobiographical fact that Noa studied in "Bezalel", in the department of ceramics design, can hint to her typical "Bezalel" exhibitions specialized work steps concerning material use, but in Noa's works the specialization does not reach a sense of esthetical ostentation and cleanliness. It stays raw, dressed with a story that does not satisfy the viewer, but only emphasizes the actual creation and establishment of the objects.
The imperfectness and impermanence of the objects and the film photographing combined with the diligence of the craftsman, create a sense of creative and obstinate factory worker that keeps manufacturing objects in the same methods, to her eyes only, though the factory she worked in was shut down years ago. Weariness and understanding the uselessness of it keep the objects unfastened.
The worker presence was also dominant in Noa's graduation exhibition from "Bezalel" Pipes resembling sewer pipes, made from cracked ceramic material, and piles resembling the asphalt piles on roads sides lay on the floor. Taping sounds were heard in the room. The tapings vibrated the piles with an electric pulse. The feeling was of something stroking in the piles.
We are left with an echo of a call echoing inwards, like a childhood game that’s lost the beauty of discovery and imagination. A remain of the game appears within the Sisyphus making of an adult caught in a situation that lacks a fantasy to relief or unburden him. Sisyphian recycling of the lost materials remains is all that is left.