Chasing Wind is a dual exhibition by Rachel Frumkin and Roni Ben Porat, accompanied by a printed catalog, supported by Mifal HaPais.

 

Frumkin’s contribution is a site-specific installation in plywood that explores the delicate transition between two-dimensional surface and three-dimensional space.

 

Crafted from thin plywood painted black, the centerpiece rises from the floor, curving upward and disappearing into the ceiling, evoking unseen fluid movement.

 

Alongside the plywood installation, Frumkin presents a series of five engraved ceramic tiles.

Each tile, incised while the clay was still soft, produces shadows that only become visible through the interplay of light.

Here, light itself becomes the medium that reveals depth, making perception inseparable from the sculptural process.

 

As curator Alfa Haimov writes in the exhibition catalog:

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“Rachel Frumkin’s installation is accompanied by the Tao Te Ching: The Book of Changes, a Taoist text rooted in the philosophy of embracing the universe’s unpredictable changes, the duality of opposites, and the balance of Yin and Yang. The principles of Taoism align with Frumkin’s exploration of the dual nature of the surfaces – how two-dimensional planes transform into three-dimensional forms through the artist’s intervention, ultimately becoming sculpture. This process is an inquiry into the existential state and self-perception.”

 

The installation’s large black form, absorbing nearly all light, creates an optical effect as though it were a projection of darkness.

It vibrates between flatness and volume, surface and object, recalling Yves Klein’s monochromatic works where the boundary between color and form dissolves.​