Earth Poetica at night. Installed at 3 World Trade Center, New York City.
Photo by Eugene Gologursky/Getty Images for Barkat Studio.
Earth Poetica installed at the Gottesman Family Aquarium in Jerusalem, Israel.
Photo credits Michael Amar.
Earth Poetica installed at the Gottesman Family Aquarium in Jerusalem, Israel.
Movie still from film created by Tor Ben Mayor.
Gallery view of Galloping, Rothschild Fine Art gallery, Tel Aviv.
Photo credits Michael Amar.
Solo exhibition Mass Movement Energy. Outside view of Da Xiang Art Space gallery, Taichung, Taiwan.
Photo Courtesy Da Xiang Art Space gallery.
Gallery view of Mass Movement Energy at Da Xiang Art Space, Taichung, Taiwan.
Photo Courtesy Da Xiang Art Space gallery.
Gallery view of Nature – Women’s Contemporary Gaze.
Photo Courtesy Da Xiang Art Space gallery.
After the Tribes, Museo Boncampagni Ludovisi, Rome.
Photo credits Vartivar Jaklian.
After the Tribes installation, Museo Boncampagni Ludovisi, Rome.
Photo credits Vartivar Jaklian.
After the Tribes installation, Museo Boncampagni Ludovisi, Rome.
Photo credits Vartivar Jaklian.
Beverly Barkat with Mrs Ching-Hsin Chung, director of Da Xiang Art Space gallery at Art Taipei Fair.
Photo Credits Jason Chi.
Turbine 4858 from the Evocative Surfaces series, outside loggia at Museo di Palazzo Grimani, 2017.
Photo credits Vartivar Jaklian.
PVC works at Evocative Surfaces exhibition at Museo di Palazzo Grimani, 2017.
Photo credits Vartivar Jaklian.
PVC works at Evocative Surfaces exhibition at Museo di Palazzo Grimani, 2017.
Photo credits Vartivar Jaklian.
Model series exhibited at Evocative Surfaces, Museo di Palazzo Grimani, 2017.
Photo credits Vartivar Jaklian.
Current and forthcoming exhibitions:
Earth Poetica opened on June 5th, 2023 at 3 World Trade Center, New York City.
Past venue: Gottesman Family Israel Aquarium, Jerusalem.
Participating at a group exhibition Art Theorema #3, Fondazione Imago Mundi, Torino, Italy.
Opened on June 23, 2023
Venue: Gallerie delle Prigioni, 20 Piazza del Duomo Treviso.
Artworks #2, #3 and #10 from Evocative Surfaces were re-installed in Sala Frutti,
Museo di Palazzo Grimani, Venice.
After the Tribes installation, Museo Boncompagni Ludovisi, Rome, 2018.
Photo credits Vartivar Jaklian.
After the Tribes, detail, Museo Boncompagni Ludovisi.
Photo credits Vartivar Jaklian.
After the Tribes, Domaine du Castel Vineyards, Jerusalem, Israel.
Photo credits Michael Amar.
Beverly Barkat working in her Jerusalem studio, Israel.
Photo credits Tommy Harpaz.
Artist working in her studio in Jerusalem.
Photo credits Tommy Harpaz.
Artist working in her studio in Jerusalem.
Photo credits Tommy Harpaz.
Studio
Beverly Barkat started working in her current Jerusalem studio in 2009. She has been exploring drawing and painting with mixed media on paper, self-stretched canvases and PVC, while incorporating skills and techniques acquired from the various art disciplines in which she specialized. Her two-floor studio is located in Jerusalem’s centre and overlooks the Architecture Department of the Bezalel Academy of Arts and Design.
Untitled #536, Indian ink and oil paint on 100% cotton paper, 50.5 x 76.5 cm, 2020.
Photo credits Michael Amar.
Artworks
Barkat’s early works were largely figurative and in keeping with the traditional Western genres. Around 2009, she made a turn towards formal abstraction and although she continued to draw from life, she started to deconstruct the figure and at the same time, capture movement on a two-dimensional surface with dynamic lines.
In 2014, her series of paintings inspired by Japanese calligraphy earned her the Curator’s Award at the 28th International Exhibition of Art & Design in Kyoto. A year later, Barkat started experimenting with new techniques, application methods and materials, the most prominent being the use of transparent PVC sheets. Sally Haftel Naveh, the curator of her 2017 exhibition in Venice, comments on her use of this new material in the exhibition catalogue:
“The PVC sheets that Barkat picks for her paintings differ from other more conventional supports first and foremost in their transparency, so that while each side carries its own self-contained painterly motif, it echoes at the same time the one found overleaf. The work process progresses on both sides simultaneously, in constant symbiosis, free of any predetermined precepts or hierarchies.”