Green Room, 2007-2015 Processed photograph, plotter print
Breaking Up, 2015 Video, 2:05 minutes loop
The video installation Green Room, which spreads across two walls in the display space, interweaves the inside with the outside and the private home with the urban space.
The installation's title Green Room alludes to elements in the work, but also to the paralyzing and destabilizing state of a waiting, the effect of the impending departure.
On one wall, a video of the studio wall and the view of the port seen through its window. The bustling scenery of the port, with the boats that dock in it and the trains and trucks that cross it, were an inexhaustible source of inspiration, one that embodied the possibility to escape or embark on a journey, go on a cruise or a holiday to faraway destinations. In the projection we see creeper plants climb up on the studio wall, completely covering it to the point that only the port can be seen through the thick leaves and branches. The collage of plants is comprised of videos that were found online, duplicated, and projected in fast motion, speeding up the growth process they document as a reflection of the passing time. And so, while the interior changes and the studio walls are gradually disappearing beneath the encroaching vegetation, the dynamic and eventful urban landscape remains stable and unchanging.
The second wall was covered with wallpapers, created from digitally processed photographs taken during a walk throughout the Old City of Jerusalem. The wallpaper pattern, which at first glance looks like decorative wallpapers in an English house, turns out to be miniature and duplicated images of street life in the Old City: market vendors, soldiers in their posts, wandering tourists, pilgrims and religious rituals, duplicated to form abstract geometric patterns. The mix between East and West and between English and Middle Eastern influences is not accidental in the works of in Jacobson-Frid, who despite having been born and raised in Jerusalem never felt at home in the city, and who spent her childhood holidays at her grandmother's house in England. The work incorporates foreign and local cultural influences, and blends the personal and political, private and collective, to create a semblance of a place – reflecting the artist's sense of rootlessness and her attraction to nomadic life, or possibly the compulsion to keep moving on.
By curator Ravit Harari