In general, my art is embedded within a philosophical approach to mystical concepts which also encompasses contemporary abstract art movements. What lies behind the façade of everything that pretends to be our existence? What elements do we need to focus on to yield a different picture? What are the parameters of our existence? My visualization of the spiritual virtual world relates through the means of the material world to the thoughts from which it emanates. Art is the only field in which the key is visualization; in essence it is the altruistic action of artists for whom creation is the ultimate goal. Digital technology allows the artist to make virtual what is already virtual by definition. Paraphrasing MIT professor Sherry Turkle,*: people can discover a postmodern way of knowing so that they come to see reality in the virtual way.
One day a digital miss-function of a TV transmission generated a screen visual disruption. To me this digital power disruption by "chance" acted as a filter, or represented a parallel reality, or the intersection of time and space, helping me to visualize this intersection.
The digital imagery reflected unique adjacent cells, fragmented, amazing in their color, at different screen angles, reproducing an abstract image in raster form (Systematic sampling of a grid-pattern of individual pixel-spaces with a view to representing an overall image) as a series of adjacent pixel elements disposed along a plurality of adjacent parallel lines in a combination of powerful aesthetic composition. These were not the images we are used to seeing on our digital TV screen. I felt excited to be present and aware of the moment, the "malfunction" caught on camera when the TV screen in a split second lost its equilibrium, revealing to us its concealed identity, realizing that this was no chance event. The screen of the lower spiritual object revealed part of a higher spiritual object, previously concealed, onto itself; it transcended what is apparently real, or the fictitious worlds which lie in another dimension. The issue of tapping into other frequencies: future, past, present and / or parallel universes works and explores hidden sets of images that slide in the "space-time continuum" that defines our space, the here and now, taking the form of something which is neither real nor ordinary, but somewhere in-between, in an indeterminate state, unclassifiable.
I mounted the light screen images into a box that is the like of a plasma or LCD digital TV screen to help us reflect on the screen before us; where real and virtual intersect- that magic moment where digital technology helps us understand higher concepts. I am enthralled that our existence could be multi-dimensional and the said digital screen or curtain could point to a reproduction of another virtual reality into the inherent force that designs and shapes matter.
* ("Life on the Screen: Identity in the Age of the Internet")
Cymber creates images of the expanses of the cosmos, building his interpretation of the universe in a weave of lines and spots which look like dripping fluids collecting into puddles of colour, moving between galaxies, examining the essence of the transition between materialism and spirituality.
Cymbers language is dynamic, intuitive and expressive. The use of biblical fonts and letters, as a significant formal element, add an additional dimension to the cosmic images leading to a bridging of the spiritual and the earthly, through signifier and signified, each element influencing the other and creating unity and harmony.
The use of letters as forces acting on our world forges a connection of meanings which hold within them a hidden prayer for unity, for a process of simultaneous giving and receiving.
Cymbers original techniques produce a rich rainbow of shades. The earth colours, rust, a mix of copper residues in shades of turquoise and brown are produced from acid. The use of mixed technique as background adds another dimension of depth. Cymber makes use of a variety of available materials and rhythmic stain-shapes ("Tachisme shapes"). He spreads layers of fluid paint freely, making use of brush strokes as if asking to eliminate control and supervision and to create a new order. The use of different materials, the readymade, contrasting colours, the coloured areas moving from the dark, symbolising a world of doing and toil, and up into the light, symbolising infinity and emanation, represent an elevation of the spirit over the material.
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"...and I will betroth thee unto me, forever; yea, I will betroth thee unto me in righteousness and in judgment and in loving kindness and in mercies. And I will even betroth thee unto me in faithfulness and though shalt know the Lord."(Hosea 2:21-22)
The installation "Promised Eternally" is an interdisciplinary creation which fuses contemporary Art and Fashion design, material and spiritual, and the relations of Bride - Groom and the Creator.
The essence of the installation is the concept of the pledging oneself to the Omnipotent, and that the ultimate 'rectification-repair' takes place in this state. The Installation is composed of shutters of windows "found objects" creating a box like structure of tefillin that stands as the spiritual groom and the bride's home. From within the box of the tefillin slips the torso of the groom which transforms the person into the bride of G-d (the Groom), over his head levitates the "Talith" as a continuation of the bride's dress, its sleeves are wings and auspices the divine presence. Under the box: the rupture of the seven broken vessels and the seven rectified vessels.
When one takes a strap of leather and writes upon it Torah verses and winds up the tefillin strap around the finger, it is an expression of being bound to G-d, so is the ring on the finger that represents the bond between the bride and groom.
