Page 51 - Studio International - September 1969

Maquette for Information 1969
Stainless steel and stove enamel
3 ft x 5 ft x 2 in.
Coll: William J. Carey, Dallas, Texas
2
Broadcast 1969
Stainless steel, aluminium alloy, fibreglass
spray paint 4 ft 6 in. x 13 ft x 2 ft
Coll: Ministry of Culture and Education,
Israel
3
Untitled 1967
Aluminium and stove enamel 2 x 4 x 1 ft
4
Study maquette for Fujiyama 1969
Aluminium and stove enamel
4 x 22 x 20 in.
5
Target 1968
Aluminium and stove enamel 6 x 5 x 2 ft
Coll: Mr and Mrs David Goldstein, London
6
Green Energy 1969
Steel and synthetic cellulose paint
5 ft 6 in. x 6 ft x 6 ft
7
Study plan for Installation, Grabowski
Gallery, London 1969

And on each level there is dialogue: between linear colour in Efrat's 'Energy' pieces. In of their tiny filaments to the large masses.
rectilinear and curvilinear shape, between the Paris Energy and London Green energy and And this hard thinking through colour con-
points of tension in both and flow of line, In the beginning, seemingly endless strips of trasts ironically with the delectable prettiness
between space as neutral planar interval metal are coloured in a unified synthetic of the colours themselves. It is no accident
(inside the triangle) and as sensuously moving cellulose; they twist in complex (but semi- that In the beginning is exhibited in the London
atmosphere (articulated outside by the wave- regularly circular) contortions within a recti- gallery. For it is obviously an 'indoor' piece
shape), and (therefore) between inside and linearly limited volume. In Paris, the dialogue designed for the confined, particular space
outside and the piece and its environment. is between one yellow line running through which becomes part of the work's operative
Much of this awesomely complex and con- almost twelve miles of dark blue linear convo- volume. Its measurements relate to those of
gruous dialogue is to be found elaborated lutions compressed into an 8 ft 6 in. cube. the particular gallery room. This is true of all
separately in other pieces. Information uses Green energy in London uses a like contrast (of the pieces in Efrat's London exhibition, and
direct experience of 'colourless' shining ma- value) in primary colours. But there, light points to something tremendously interesting
terial to set off its curving dialogue between reflections from the 'solid' yellow of the in his approach.
blue and yellow; the tensile properties of its internal cube merge with those from the blue However solidly precious and self-contained
material form the basis of the main point of linear compressions, creating greenish shadows his work may seem, it is executed in specific
colour-in-movement in the piece. In Shmoney which visually dissolve the solidity of the relation to particularities of exhibition places;
in London and Fujiyama in Paris one finds inside cube into the more amorphous 'blue' thus it is (paradoxically) permanent and as
colour related to line-to-plane in a manner outside volume in the eyes of a viewer neces- ephemeral as the exhibitions themselves. In
neutralizing space as intangible interval uni- sarily outside (again) the material confines of London, each piece is specifically related to
fying the pieces' articulated 'shape' with the the piece. And In the beginning elaborates the the space, scale, and even positions of each
surrounding ground. In these pieces the play of line with volume of the Paris Energy of the Grabowski's four rooms. In Paris,
rigorously rectilinear and parallel bands are in terms of environmental order and chaos. where he is exhibiting (by his own choice)
curved only at their turning 'inside-out'. This One hot yellow line runs from the mass of outdoors, his three works are individually
turning, and the works' two-faced-dimension- strewn chaos on the floor into a tightly more self-contained as free-standing objects
ality, is accentuated by separate colours controlled rectilinear volume of cool pink in the freely flowing space with its potential
(`cool' blue and green in London, 'hot' linear convolutions seemingly floating against for spectators' movement. There are, of
magenta and crimson in Paris) on the a wall. The paradox of the cool-pink and hot- course, parallels in work exhibited in each
`inside' and 'outside' of the bands. Planarity yellow contrasts is as thoughtful as the con- context; but when these are closest one can
is replaced by volume in the dialogue with gruity of the colours' lightness with the scale see Efrat's heightened awareness and use of