I placed my trust in Kupferman’s words that there was a relationship between his series of drawings With Beirut, after Beirut, with Beirut and images of Sabra and Shatila massacre which he had seen in newspapers and television in September 1982. I started to view photos from the massacre on the Internet and guided by intuition, juxtaposed them with Kupferman’s drawings, looking for similarities in terms of form and colour. Violent lines made with a black felt pen, taking embryonic shapes, reminded me of the bodies of victims buried in bags. In black dots spontaneously scattered on paper I spotted bulletholes left in the walls of buildings. Soon I realised that the number of configurations may be unlimited, and my activity of random nature rather consists in overlapping photos and drawings than comparison. Still, however, I perceive Kupferman’s drawings a testimony close to a photograph.
Studies: at the Faculty of Visual Culture of the Academy of Fine Arts in Warsaw, major in history of art (first-cycle studies 2013–2016), liberated arts at the Tel Aviv University (2014–2015), fine arts at the Leeds Beckett University (2015–2016), history of art at the Courtauld Institute of Art (second-cycle studies from 2016). The author of the article Yael Bartana’s “And Europe will be stunned”: Deciphering multilayered photomontage , published in “Judaista” 2016, no 1.