In her solo exhibition "A document of a passing moment", Noa Yekutieli explores and examines the term "memory", and dives into the depths of its essence. In her manual paper cutting work, Yekutieli defines memorable moments that shape our being in a subjectively manner, as part of the collective experience.
The landscape facing us, inherent in the definition of objectivity, is shattered into a thousand pieces and re-organized in order to create a landscape within ourselves- that is, the memory.
Through the personification of the paper which she explores, Noa outlines the transition of the bald object becoming a tattooed subject and vice versa, by having the complete paper undergo a progressive deterioration which creates a new perspective and gives it an autonomic presence.
In her works Noa investigates the space between the memory and reality, and aims to take the viewer through a reflexive personal memory quest, raising questions regarding its engraving in the same consciousness. The visual world draws a search for meanings in objects that reflect passing moments.
Those slight pieces of memory are placed inside inanimate objects over paper cuts creating a mosaic, integrated with the inner and outer landscape, therefore, the objects becoming the link between the inside and outside, acting as a magical cycle. The gathering into universal imagery located within the building blocks of the concept of "home" give the viewer a sense of belonging, equivalent to the experience of the present, which conducts an ongoing dialogue with the past and the future.
In her installation wall, Noa experiments with the opposite tactic known to her, by attaching individual memories into a common experience. By connecting doors and windows, the units of time and different places come together as one, standing in front of us and in us.
In the various objects placed in the space, are woven those fleeting, passing moments as souvenirs from a once complete paper. A single image which contains situations filled with the smells, sights, sensations, emotions and participants. The paper cuts constitute the remains of the memories chosen to be preserve, edited and enhanced.
When there are holes in the story and it's not systematic, forgotten memories can arise; the legitimacy is set in our ability to make the transformation between the inside and outside, imagination and reality, between the I and the We.