SomoS’ Resident Artist Spring 2015, Sva Li Levy (Tel-Aviv, 1962), works as Video- and Performance artist.
He practices and teaches experimental methods of mind-body work, for the purpose of self-development and for the stage. Graduated from Nissan Nativ Theater Academy, 1988, he participated as an actor in several productions in The Cameri Theater of Tel-Aviv, among other theaters.
Sva Li Levy was a member in several Dance-Theater groups and continues his artistic researches through varied mediums such as Physical Theater, Yoga, Meditation, Contact Improvisation, and Butoh (taking part in several training workshops with Butoh Masters like: Yoshito Ohno, Ko Murobushi, Yumiko Yoshioka, Akira Kassai, and Katsura Kan.)
Recently Sva was a dancer-performer in the international project “Land Research” (2013-14), by choreographer Arkadi Zaides.
In the field of visual art, the artist participated in the group exhibition “Library Thoughts”, (Budapest, 2011), in the video-art festival “European Nights” (St Petersburg, 2010), and the TED international short film project “Pangea Day”(2008). In 2012 Sva presented his video installation “Construction Sight” at the Tova Osman Gallery in Tel Aviv.
My work aims to crack the habit and encourage a chance to dis-cover & de-code the clichés embedded in the way we compose and constitute a ‘perception’.
I use photography, readymade materials, sounds, music, beats & rhythms of different data, to mirror the diverging collage of states of mind, which we are, at any given moment.
I am interested in exploring the relation – unity/multiplicity and its effect on identity.
In my work i beg the audience to take the time and create a space to observe how a singular, one coherent ‘me’, actually emerges out of a stream of mixed memories, non-linear linking and contradicting voices, all of which co-exist – in the ‘now’.
I refer to ‘art’ as a verb that may propel the observer towards an emotional and flexible, motion of thought and openness of sense. These, I believe to be the elements of an aesthetic ecology, wherewith a storytelling of some ‘otherness’ may crack in. Thus the meeting point of observer/artwork may become the circumstances for a possible transformation. On the individual plane as well as on the collective plateau.
My working assumption is that every image is a story and every text may be a starting point for a visual journey.
It is the image of ‘Image’ that should always stay incomplete and ready to change. The picture that we’ve got is transitory in its nature and should stay flexible in the way it self-assembles its own parts.
Thus inviting us for a walk through a kind of garden of forking paths, reminding us of the myriad of possibilities sometimes hidden in our inability to draw a definite line between that which is real and that which is a product of our imagination.