Mashpech

Via new combinations of familiar, available, mundane household objects and the construction of semi-functional scenes, Tom Maor exposes the viewer simultaneously to a movement and to the action that jams it. All of a sudden, these ever so familiar objects become foreign and even threatening.

The point of departure for the initial movement is the natural, practical, and functional movement of each object, which is supplemented by an action that spawns an additional gaze, revealing a lack of control, castration, and a sense of “stuckedness.” Circular, repetitive, somewhat obsessive movement elicits tension and discomfort, and sometimes even indicates a slight danger which engulfs the space. The objects remain emptied of their original meaning, transforming into magical, touching personal-domestic monuments.