About

Haya Graetz-Ran, a contemporary Israeli artist, paints figurative paintings that are based on private and anonymous posed photographs. In her artistic action she creates images of girls and maturing girls that relate to the history of the Israeli society. Her works vary between the autobiographical (born in 1948, the year of declaration of the state of Israel) and the reflection of her own image in the feminine collective over its generations. The importance of her work is established upon the continuous dealing with mother-daughter relationship and the confrontation of the feminine myths with the masculine myths, expressed with the famous phrase, “It is good to die for our own country”, on which she was raised upon.

Animals, shadows, body parts, rabbits, hedgehogs, girls sticking out tongues, Israeli landscape, painting on wooden surfaces, sandals, pioneers, blood stains, bandages, objects and children toys, all become part of the canvas that is used as a platform for the act of painting.

In her last series of paintings, “Fields and Flags”, Graetz-Ran directly refers to crises undergone by the Israeli society over the recent years. Crises that are expressed in the collapse of the Zionist ethos and in the social fracture. Symbols of ethos and heroism (that are based on historical photographs) serve her in the reexamination of the Israeli reality these days.

“The settings in Graetz-Ran’s works resonate a biographical story that is woven together with a collective memory that many of us share in this country. Her works do well in expressing the intricate relationships in the family unit and they hint at the reflection of the relationship structure of the social system. In many of her works the point of departure is photography, as if a family album expands to new horizons, receives a breath of painting but preserves the vulnerability of the subjects: the painting seemingly documents the heroic effort to survive in the new conditions in the land of Israel and bestows further profoundness to the daily struggle of the characters that are exposed to a middle-eastern sun and a demanding and enslaving society.”
Galia Bar-Or

“Today, with a discourse that deals with Postzionism, Postmodernism and Postfeminism, a new light is shed on Graetz-Ran works. […] Graetz-Ran works on recurrent themes in all the series and habits traveling back and forth in time to revitalize and fascinate anew.”
Ora Krauss