Adi Barak’s installation, which included sculpture, photography and other, mixed techniques, attracted the eye and aroused curiosity. The attempt to keep track of the work methods and techniques she used to create games and magic tricks with various materials guided the encounter with the works themselves. Despite the usual prohibition, it was hard not to touch these works, to ascertain that they really existed: a tablecloth with edges of sand, a castle and geometrical structure in the shape of a pyramid with a sculptured interior space also made of sand. On the walls were processed surfaces of sand, from which one could see sometimes clearly and sometimes vaguely images that Barak photographed and placed in the sand.
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She says of the photographs that she looked for fleeting moments, moments of change, so as to capture them and make them a part of the sculptured objects.
Barak says she used to do figurative oil painting on canvas, and her desire to find another material on which to paint was what led her to sand, which she likes because of its resistance to the very act of painting: “In a laboratory experiment, which lasted for over a year, I tried to create my own simple and yet complex material. The sculptures in a sense arise from the material in a unique manner.”
During this process, she testifies, she became “curious about my control of the material and the emerging shape of the sculptures ... about the moment and the stage in the work in which I will lose control of the process, will remain a passive partner in it and will accept the burden of the result dictated by it.”