EVENT HORIZON

Givat Haim Gallery

Curator Vered Nahmani

Zvika Markfeld – Technical support kinetic works

Shaul Tzemach's solo exhibition, Event Horizon, offers a dialogue between rigorous mathematical logic and a multifaceted visual experience. The exhibition unfolds a field of works that stand on the theoretical border where the mathematical rigor of science meets the infinite poetics of art. Tzemach works in the tension between art, science, and technology, and strives to divert the diagram and the algorithm into a space where the exemplary order serves only as a point of departure for disintegration and reconnection. The term "event horizon" describes the border from which there is no return: the point of no return where information, light, and time itself undergo a radical transformation.

This is the central image that drives the exhibition, taking a computational code or precise formula and transforming it into a physical and artistic phenomenon that can no longer be rationally decomposed.

The work process draws inspiration from the study of natural phenomena. It begins with a wonder at forms derived from the world of science – such as electron microscope photographs, particle waves or atomic scattering – which provide a space of unfamiliar knowledge. In the next stage of the creative process, the algorithm enters and produces the system of order. In the “event” and randomness stage: a choice is made at a single moment, as one point of disorder from a dynamic generative reaction chain, as a suggestion for a unique form. In the final stage, Shaul passes the image through diverse filters: from digital-computerized machines such as a plotter, CNC, 3D printer and laser and traditional analog machines such as a ballet press, which leave their mark on the form. In kinetic works, such as the double pendulum, we witness an uncontrollable dance driven by gravity – a chaos that requires a computational system to return to the initial moment. The gyroscope, as a representation of high degrees of freedom, uses a three-dimensional movement of different axes to trace a path of light through a space-time that emerges and fades. The geometric works challenge the perception of structure through the act of subtraction. In complex three-dimensional structures and the Voronoi diagram, Tzemach leaves only the skeleton – the bones of the system, as a required minimum that preserves a material memory that testifies to what was and is no longer. This is a direct reference to the process taking place in the “event horizon” – the information about the past is lost, only the inevitable structure of the present remains. The sculpture transforms from a still formula into a living object of its own; it is not a model, but a metaphor for a story of becoming, organic growth and the formation of form.

Between the mesmerizing moiré effect, achieved by deliberately rotating panels containing acyclic drawings, and the molecular structures enlarged to room-sized dimensions, Shaul Tzemach invites the viewer to cross the border. The exhibition invites us to experience the hidden silence between the mathematical equation and the physical object it gave birth to. It is a reminder that the most mysterious and profound value exists precisely at the point where our ability to measure reality fails.

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