The artist, born in 1969 in  Beer-Sheva, Israel, presents himself in Rome with recent works in an exhibitory itinary entitled “No Man’s Land”. The exhibition path starts with a selfportrait of the artist, thus a intimate reflection and goes on with works that take the viewer outside, to the ruins of the world, up to reaching the Prisons of Ansaar. The three canvasses of the last room, full of political and social values, are testimonials of a real existing space, but allude at the same time to our “mental prison”.

“Gilad Efrat is an artist who utilises the ‘traditional’ tool of painting; in this way he not only renews its specific language, but also its ‘necessity’ today. By using the means and methods of this tradition, he is, like very few others, able to give voice and a fresh power to a language that has been declared dead by our era. It is not by accident that for some time now his work has been concerned with ‘places of disappearance’. A few years ago these subjects were archaeological sites sunken in the desert; Israel was created on the memory of these ancient, biblical places that today are the basis of historical-archaeological studies (and of strategic interest) aimed at exploring the specific identity of a people and a nation, but above all of the individuals living there. Today these same ruins look like the European cities destroyed by war. Images seen from the air of cities razed to the ground by bombing dramatically recall the archaeological sites of Jericho or Bethlehem, devoured by the desert and made to surface again by compassionate hands. Recent works recall the desertification caused by war — the ‘flat’ state from which the West had to start again and which still acts as background to our civilisation. A common destiny connects that desert to ours; and Gilad Efrat, like a compassionate archaeologist, works to ‘remove’ layers of paint from which seemingly forgotten images resurface. 

The landscapes depicted are mostly made of stone or, rather, painted as stone. That the stone is natural or artificial, found or manufactured, is of little importance, in any case it is there to tell us how ‘hard’ the world is. How hard it is to die - when ruins (of villages or otherwise) are depicted – and how hard it is to rise, when the stones take the form of walls, enclosures and prisons…”

From a text of Alfredo Pirri written for the exhbition of Gilad Efrat.

A catalogue SKIRA/OREDARIA with critical essays by Alfredo Pirri, Laura Cherubini and Idit Porat will be available in the gallery.