MALKA INBAL

White Ink 5

About the Artist

Malka Inbal has studied at Kamera Obscura Art School in Tel-Aviv. She has developed her own personal technique using a silver screen.She has exhibited in many solo exhibitions: among them at the Israeli Museum of Photography and atKOWASA gallery in Barcelona (Spain). She has also taken part in many group exhibitions throughout the world, such as in the CITES DES ARTS Paris and the museum of "THE GREAT 4" Chongching, China and in NYC. Her work is in public collection "TEL HAI PHOTOGRAPHY MUSEUM" and private collection VISION gallery – Jerusalem (Neil Folberg's gallery).Articles about her work appear in academic lectures, professional and design.

About the Work

In her Laugh of the Medusa, feminist writer Hélène Cixous states: “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies – for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text – as into the world and into history – by her own movement.” Cixous also made known the term “white ink”: “[… A] woman is never far from "mother" (I mean outside her role functions: the "mother" as non-name and as source of goods). There is always within her at least a little of that good mother's milk. She writes in white ink.”In her Second Sex, Simone de Beauvoir indicates that the woman, under the male-dominated constructions of hegemony and culture, is the “Other.”The woman is an “eternal other.” The self-referential consciousness of the subject of existential theory must have this other in order to measure itself against it, as this other is both familiar enough and far removed enough from it so as to enable its own definition.The series White Ink was formed from the processes that govern the ever-changing nature of the status of women. With a feminine gaze (The “second sex” is now the observing subject), I looked towards male-dominated perceptions of the world. I tried to decipher emotional and mental patterns, with an unadulterated, non-judgmental look ,looking away from the feminist discourse that necessarily brings some form of fettered consciousness into it.The works are a product of encounters with my colleagues which served as the inspiration for the white papier-mâché figures I created. The white of these figures stands for a colorless “vacuum” which, in my eyes, is “pure” enough to hold all shades of “grey,” all the emotional intricacies of everyday life. Through lighting and focusing of the camera, I brought out many layers of these characters. The outcome has a rigid and rugged look that extenuates the emotional clamping up of men in thought and decision-making processes, which I wanted to bring to the fore.

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