
Image of a crouching woman (print),
2024
Ohad Ben-Ayala
Print : ink, pigment ink, charcoal, inkjet, paper
30 x 20 cm 11.8 x 7.9 inch
Second NOT DISPLAYED BLUR TEXT
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About the artwork
Type
Numbered and limited to 5 copies
5 copies available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
30 x 20 cm 11.8 x 7.9 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: Israel
This striking artwork portrays a contemplative figure, captured in a vulnerable seated position, exuding a sense of introspective solitude. Rendered with delicate lines and subtle shading, the figure's form is both raw and expressive, highlighting the artist's mastery in conveying human emotion. The texture of the paper adds an earthy quality, enhancing the intimate narrative of the piece. The posture, with the figure's back turned and a hand cradling the head, evokes themes of introspection and resilience. This artwork's minimalist approach, coupled with its emotive depth, offers a powerful commentary on the complexity of the human experience, making it a unique and thought-provoking piece.
Collector's information:
- Inkjet print on handmade mulberry paper,
- Retouched heavily with black chalk, sepia and pen and ink.
- Limited edition of 5.
- This print is edition 1/5.Signe by the artist.
- The original drawing is approximatel 5cm in size and can be viewed upon request.
About the seller
Professional art gallery • Israel
Artsper seller since 2023
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Discover more by the artist
Presentation
Ohad Ben-Ayala, b.1981 .
Lives and works in his studio in Tel-Aviv.
The sculptures presented on this profile reflect a decade of exploring bronze and other non ferrous metals as sculptural materials.
All of the works shown here at the moment were roughed out and modeled first (from nature or an invention) using another material – mostly water based clay or soft bee-wax.
Either way, more than one aspect of each work was always left unfinished, so it could be later resolved in the final metal it was cast in, and thus giving the metal more meaning than just a casting material.
This method was meant to find some middle way between the desire to create a single, unique and individual art piece – and at the same time develop multiple other versions, with all the possibilities offered by casting and re-casting each sculpture in different materials.
Traditional methods of chasing and repousse were combined with electric and pneumatic grinding, polishing, welding and soldering.
Various bronze alloys, aluminum and sometimes brass were cast using both sand casting and lost wax casting methods. With the founder's role limited to pouring the molten metal - Each sculpture is resolved and finished by the artist's own hands.
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