Noam Dover & Michal Cederbaum

“Sandblasted” begun from collecting second-hand ceramics found in flee markets and private auctions. After a series of plates was set up, the plates were selectively sandblasted to remove parts of their original glaze. the resulted images present a clash between two technologies: the coating technique of glazing and the erasing act of sandblasting.

A second-hand object bears a story abundant with question marks: What was the historical context in which it was created? By who was it made and what were that craftsman or woman's life circumstances? Of which traditions of material and technology does it come from? How was it used and by whom? And furthermost, what symbolism enfolds within its aesthetic presence?

The original glazed images exhibit ideas of what was considered “cultured”, “civilized” aesthetics in the time of their making: fresh fruit, free swimming fish and natural patterns are all accepted as the “correct” aesthetics of ceramic decorations. But while these decorations represent a harmless and seemingly harmonious image of western culture, the story of the factories which made them is laced with the violent historical events of 20th century Europe; while the original images talks the language of harmony, the sandblasted images explore the expressions and structures of oppression and destruction.