Sari Carel // Olive Glove
Video Installation, 2009, (8 minutes)
Powerful gusts of wind, vigorous motion of tree tops, radiant light and an abundance of tumultuous whispering leaves opens before the viewer the grandiose spaces and wild nature in Sari Carel's film. Carel travelled to Australia, the origin of the Eucalyptus tree, and shot a row of tall, silver-leaved trees, so common in the Israeli landscape. What seems at first like the dawn of a storm, gradually picking up speed, turns out to be an enticement to the eye, a template of a typical view, not necessarily Israeli, which becomes stage and scenery. With the representative romantic landscape of dense tree tops, a lake surrounded by forests, a winding pathway through the trees, a ray of sunshine breaks in the thicket - Carel dispatches onto the silver screen a series of electronic manipulations, turns the landscape up-side-down, paints it in different colors, and craftily plants in animated mise-en-scenes.
These are mini-events, breaking through the 'stage', bright and glowing like a dream, each representing a detail from the orderly theories of early classic modernist design: An office desk, elegant leather chairs, geometric light fixtures, buckled bags and a collection of neatly shaped ceramics and glass vessels. Against the background of wild nature scenes, they appear as well casted "aliens," representatives of stylish and elegant urbanism, fantasy agents of a new world, a closed language orbiting a circular route. Landscape genre - wide, free and natural, the way John Constable or Jean-Baptiste-Camille Corot saw it – briefly flickered here and then dissolved into urban shapes and elements. The interior urban aura offers values such as efficiency, functionality and civilized frugality, as opposed to the excess energy of the gusts of powerful wind outside.
This delusional scene occurs against the sound backdrop of chirping birds mixed with electronic beeps and the clicks of the metronome, adding to the film's duality of lightness and weight. The editing method alludes to the presence of a cinematic fairy godmother, who, followed by the sounds of ringing bells and with a wave of her magic wand, lifts and lowers objects, as if they were Cinderella's pumpkin carriage. Thus the table disappears at the turn of the bend, the glass bottles disseminate into the lake's water surface, the quivering nostrils of an unidentified animal, sipholux bottles floating in space and primitive sculptures between the trees.
Carel juggles with enormous objects and tiny dimensions; with the object and the animalistic; as well as with grandiose nature and a dainty glove perfectly covering a woman's hand. Her statement is ironic and flirtatious, but it doesn’t collapse; on the contrary, like surrealist poetry, she creates an independent syntax that skips through language and has no need for bridges.