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陈列您的艺术作品给每天无数的访客观看
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| Michal Ohana- Cole | |
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London based artist graduated from Central Saint Martins in 2000, exhibited world wide and is Saatchi Gallery showdown winner. |
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The Deer
2001 |
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Life's a beach
2007 |
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| painted sea shells |
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Forever 1 (SOLD)
2007 |
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| oil on canvas |
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Forever 2 (SOLD)
2007 |
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| oil on canvas |
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Forever 3 (SOLD)
2007 |
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| oil on canvas |
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Forever 4
2007 |
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| Oil on canvas |
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Goat
2007 |
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| C print ( edition of 5 |
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Sue
2005 |
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| C print photograph |
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Jili
2003 |
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| C print photograph |
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Dial "M" for Money- Horse position in £50 (SOLD)
2009 |
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Dial "M" for Money- "K" position in $100 (SOLD)
2009 |
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| Money on card |
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Dial "M" for Money- Ass fucking in air - in £50
2009 |
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Dial "M" for Money- Standing doggy style in £50
2009 |
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Dial "M" for Money- Double frog
2009 |
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Dial "M" for Money- Hanging in $100(SOLD)
2009 |
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Untitled ( Rose in Mouth) (3/5 Edition SOLD)
2000 |
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| one from a set of three photographs featuring a rose in mouth.
edition of 5 ( 3 editions sold) |
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Secret Delights - Sue
2006 |
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| Secret Delights/The Zoo Series
These photographic series are a personal and contemporary interpretation inspired by the “official” portraits made by great masters such as Titian and Van Dyke.
It represents a humoristic and fetishist view on the subject of the ‘social mask’ – that is, how we present ourselves to the world with regards to our social status, physical appearance and sexuality.
The subjects are photographed in the women’s own homes, wearing their choice of clothing. Prior to the shoot, I ask them to imagine what their ‘inner animal’ is. I then stitch a handmade mask to their specifications to represent this. I sew the mask to the collar of their garment and photograph them. It is important to mention that none of the masks were bought. Each mask was individually hand sewn, an antidote to the blank uniformity that such an item might otherwise represent.
In Secret Delights, the woman is wearing a gimp-style mask, rather than an animal mask. In the context of her surroundings, the mask is simultaneously sinister and amusing, empowering and disempowering. The Zoo pictures, which evolved from the Secret Delights series, have a more liberating feel. The masks reflect the individuality of each woman and allow a playful response to desires, which might be disturbing or bizarre. The fables of La Fontaine, which use animals to explore human concerns, were also an (early) inspiration for these pictures.
The masks provide the women with the comfort of anonymity, while in contrast, their body postures, personal belongings and environment deliver their own message to the viewer. The masks are vehicles to explore those aspects of ourselves, which we might usually conceal.
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Secret Delights No 3-Karen (Edition 1/5 SOLD)
2001 |
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| Secret Delights/The Zoo Series
These photographic series are a personal and contemporary interpretation inspired by the “official” portraits made by great masters such as Titian and Van Dyke.
It represents a humoristic and fetishist view on the subject of the ‘social mask’ – that is, how we present ourselves to the world with regards to our social status, physical appearance and sexuality.
The subjects are photographed in the women’s own homes, wearing their choice of clothing. Prior to the shoot, I ask them to imagine what their ‘inner animal’ is. I then stitch a handmade mask to their specifications to represent this. I sew the mask to the collar of their garment and photograph them. It is important to mention that none of the masks were bought. Each mask was individually hand sewn, an antidote to the blank uniformity that such an item might otherwise represent.
In Secret Delights, the woman is wearing a gimp-style mask, rather than an animal mask. In the context of her surroundings, the mask is simultaneously sinister and amusing, empowering and disempowering. The Zoo pictures, which evolved from the Secret Delights series, have a more liberating feel. The masks reflect the individuality of each woman and allow a playful response to desires, which might be disturbing or bizarre. The fables of La Fontaine, which use animals to explore human concerns, were also an (early) inspiration for these pictures.
The masks provide the women with the comfort of anonymity, while in contrast, their body postures, personal belongings and environment deliver their own message to the viewer. The masks are vehicles to explore those aspects of ourselves, which we might usually conceal.
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Secret Delights 2- Karen
2001 |
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| Secret Delights/The Zoo Series
These photographic series are a personal and contemporary interpretation inspired by the “official” portraits made by great masters such as Titian and Van Dyke.
It represents a humoristic and fetishist view on the subject of the ‘social mask’ – that is, how we present ourselves to the world with regards to our social status, physical appearance and sexuality.
The subjects are photographed in the women’s own homes, wearing their choice of clothing. Prior to the shoot, I ask them to imagine what their ‘inner animal’ is. I then stitch a handmade mask to their specifications to represent this. I sew the mask to the collar of their garment and photograph them. It is important to mention that none of the masks were bought. Each mask was individually hand sewn, an antidote to the blank uniformity that such an item might otherwise represent.
In Secret Delights, the woman is wearing a gimp-style mask, rather than an animal mask. In the context of her surroundings, the mask is simultaneously sinister and amusing, empowering and disempowering. The Zoo pictures, which evolved from the Secret Delights series, have a more liberating feel. The masks reflect the individuality of each woman and allow a playful response to desires, which might be disturbing or bizarre. The fables of La Fontaine, which use animals to explore human concerns, were also an (early) inspiration for these pictures.
The masks provide the women with the comfort of anonymity, while in contrast, their body postures, personal belongings and environment deliver their own message to the viewer. The masks are vehicles to explore those aspects of ourselves, which we might usually conceal.
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The Zoo- Goat
2007 |
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Secret Delights 4 - Jill
2001 |
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The Zoo- Horse
2005 |
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| 教育程度与个人自传 | |
| Michal Ohana-Cole Date of Birth: 30/09/1974 - Haifa, Israel Lives and works in London since 1997 Education 1997-2000 Fine Art B.A. (Hons) Central Saint Martins College of Art and Design, London 1996-1997 Prep'Art Art College, Paris, France Work Experience 2005-2007 UK Operations Director for AIDA: The Association of Israeli Decorative Arts (Bronfman Foundation) Future exhibitions 2009 Hidden, ACT ART 7- Children of the Damned, London , UK 2010 Fresh Paint Art Fair, Tel Aviv, Israel Solo Exhibitions 2009 Florentin 45, Fragments , Tel Aviv, Israel Janko Dada Museum, Secret Delights, Ein Hod, Israel Selected Group Exhibitions 2009 Fresh Paint Art Fair, Tel Aviv, Israel The Saatchi Gallery, Showdown, London ,UK 2008 Florentin 45, Dirty White, Tel-Aviv, Israel The Arches, ACT ART 6, London, UK 2004 Lotus Gallery, The Sex Show, Bath, UK Ben Uri Gallery, IJAY Awards, London, UK 2002 Nikolai Fine Art, Sugar Spice and Everything Nice, New York, USA Mafuji Gallery, Obsessions, London, UK Artlink & Sotheby's International Young Art, Tel-Aviv, Israel Artlink & Sotheby's International Young Art New York, USA Artlink & Sotheby's International Young Art, Amsterdam, The Netherlands 2001 Salon Des Arts, Challenge the Nail, London, UK Sotheby's, Out-Moded, London, UK ICA- Nominated for Beck's Futures Award, London, UK The London Institute, Future Map, London ,UK The London Institute, {X}Hibit, London, UK 1999 King St. Gallery Exhibition, London, UK Fuji Photographic Awards, London, UK 1998 Logos Art Gallery Third National Competition, London, UK Exhibition Catalogues 2009 Fragments, Florentin 45 Gallery 2008 Dirty White, Florentin 45 Gallery 2004 IJAY Awards 2002 Sotheby’s International Young Art 2001 {X}Hibit The London Institute Bibliography 2009 Dudu Bareket , “Women Liberation”, Achbar Haeir, October, P35 Eli Armon-Azulai, “The Female Mask”, Galleria Haaretz, September, P8 Liad Kantorovich “ Forbidden Pleasures”, Time Out Tel Aviv, September, P44-46 Yham Hameiri “The Woman in the Leather Mask”, Shamenet- Haaretz, February,P36-40 2008 Polly Vernon, “Woman’s Thrift Guide”, The Observer- Women, October 5, P.8 Emine Saner, “Store Crazy-Michal Ohana-Cole” ,The Guardian-G2, March 24, P.13 “Florentine 45- Dirty White”, Haaretz- Shamenet Magazine, Israel, September, P.46 2006 Rebecca Taylor, “The Israeli photographer”, Time Out- London, January 25- February 1, P.142 2004 Sarah Jane Downing, ”Snapshot”, The Big Issue, August 30-September 5, P.25 Catarina Davison, “Art Review-sex show”, Metro London, August 25, P.19 Steve Wright, “Sex in the city”, Venue, Bristol, August 20-29, P.14-15 Helen Kwicien,” The sex Show”, Decode Magazine, Issue 14, P.8 Alison Oldham, “Animal Attraction of Dressing to Thrill”, H&H London, August 13. P.22 2002 Helen Smithson, “Real Women and Dodgy Male Desire” , H&H London, January 18, P.35 “International Young Art”, The Artist’s Newsletter, December, P.36 Raul Zamudio, “Sugar and Spice and Everything Nice”, New York Art Magazine, May, P.37-39 Lisa.P.Streitfield, “Post Sept.11 Eroticism in New York”, New York Art Magazine, April Lea Marnetz, “First Show”, Maariv Newspaper, Israel, January 2001 Helen Smithson, “The Graduate Who Seduced Saatchi with Roses and Lips”, H&H, February, P.41 Christopher Hirst, “In Thorough The Out Door”, The Independent weekly review, February 17, P.25 Helen Sumpter, “Future Map”, Time Out London, October 27-November 2 Television “Mehayom Lemachar- Over night ”- News review, Israel Chanel 1, “ International Young art” Interview with Vered David, December 2001 |
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| 未来的展览 | |
| Fresh Paint Art Fair March 2010 Tel Aviv Act Art London November 2009 |
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| 网站: www.michalart.com | |
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