Earth Poetica installed at the Gottesman Family Aquarium in Jerusalem, Israel.
Photo credits Michael Amar.
Beverly working on Earth Poetica in her Jerusalem studio.
Photo credits Michael Amar.
Earth Poetica installed at the Gottesman Family Aquarium in Jerusalem, Israel.
Photo credits Amit Elkayam.
Current and forthcoming exhibitions:
Earth Poetica in collaboration with Nomas Foundation.
Opened on February 6, 2022 at the Gottesman Family Aquarium in Jerusalem, Israel and ends at the World Trade Centre in New York.
Group exhibition NATURE – Women’s Contemporary Gaze at Da Xiang Art Space gallery, Taichung, Taiwan.
Vernissage: August 12, 2022 (by invitation only).
Dates: August 13 – September 18, 2022.
Solo exhibition of oil paintings at the Rothschild Gallery, Tel Aviv, Israel.
Vernissage: November 17, 2022.
Participating at Imago Mundi group exhibition, Torino, Italy.
Scheduled in Autumn 2022.
Da Xiang Art Space gallery participating at Jakarta Art Fair, Indonesia.
Dates: August 26 – 28, 2022.
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 Mountains, photographed by Michael Amar
Beverly Barkat working in her Jerusalem studio, Israel, 2019.
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.
Artwork
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.”