Forces of Attraction
August 11 - October 31, 2001
Curator: Yehudit Matzkel
Leonid Gosin is a virtuoso translator and transformer of words into drawings and drawings into sculptures - i.e. into works of art. He writes poetry and he writes about philosophy in Hebrew as well as in Russian, his mother tongue. He easily transmutes his writings into drawings that derive from these words. The next step is to turn the drawings into sculptures -three-dimensional works in space. The metamorphoses arouse admiration, especially when the viewer realizes how accurate is the transformation. The shift between disciplines is uncompromising and unexplicatory. Accurate and inspired, the works enable us to expand the dialogue and delve deep into it.
Entering Leonid Gosin's exhibition space, the viewer encounters a series of objects that seem to be totally unconnected. The sculptures function in space as independent centers. The links and the narrative emerge as layered and implicit. It appears that everything is random, fluid. Leonid Gosin divides the exhibition space into discrete areas of energy, like separate atoms, each with "a nucleus with its own specific force". This concept also leads the artist to select different materials for his objects - ceramic, plaster, silicon, metal, etc. The laws of nature and science (Mendeleyev's Periodic Table of the Elements), apply to the exhibits too. Every element in the Table is distinctly marked so as to enable accurate identification, but when these laws are translated into the language of art, Gosin turns them into entirely different symbols.
Gosin presents the spectators with plenty of ideas, trusting in their ability to synthesize and interpret them. The atomic fields, with their various and contrasting forces, will eventually be decoded and organized into a system of familiar signs. "The attempt to fly with a broken propeller when you are anchored to the ground, will turn out to be the shattered dream of a child." Have the waves carried objects to the shore in this case too, and is what we see what is left on the sand after the waves have retreated?
The viewer participates in a virtually pagan ritual. The objects evoke various hidden, experiential charges that combine to tell a story. The process can also occur because the objects Gosin has created have the human proportions to which we are accustomed. This encounter enables a reading in which some of the things move horizontally and some vertically. The criss-cross pattern, the tension and convergence exist not only among the objects on display, but also between the two adjacent exhibition spaces, like gravitational fields.