Location: Israel
Artist's General Background
I was born in the northern part of Israel, the Afula Valley where my parents had immigrated to from Yemen. I grew up in a large family of eight brothers and sisters. My grandmother was a very dominant figure in my life as I was growing up. She was a widow who lived by herself. My sisters and I would take turns sleeping at her house so we could go out to herd the sheep in the green pastures, twice a day.
In the amazing silence of the green meadows, the shadow created by the giant eucalyptus trees, there was me: a girl alone with sheep, or with her grandma. She invented a world of her own, using God's creations: twigs, soil, leaves. So that the fallen twigs turned into a doll, the dry leaves of the eucalyptus tree turned into a blanket while the soil became my first canvas. Drawing with my fingers and with twigs, and then erasing m paintings with them. I used to draw for hours while enjoying both the sounds of nature and its silence – they all have eventually become inspiration to my work of art.
Education
Ohalo College and boarding school – School for teachers and kindergarten teachers.
Artists Workshops: the late Tuvia Yuster, Aliza Lahav – Shaaltiel, Ein Hod Moshav.
Oranim, Haifa University – B.e.d. in Arts poly Aesthetics
M.A. in Education via Art - Abroad.
Introduction to philosophical aesthetics - The Open University
The Renaissance Art in Italy - The Open University
Art in the technological era - Art of 20th century - The Open University
M.A. studies - interdisciplinary courses - The Open University (Until retirement)
Professional Experience
Kindergarten teacher - Teen center - artistic director, Hitim Village
Ministry of Education –Kindergarten teachers' supervision Instructor (early retirement)
Participated in local and international exhibitions.
List of Exhibitions
Nevo Gallery Tel Aviv - Curator John Harrison (February March 2012)
Paris, Business Saloon- curator Dr. Shirat Miriam (July 2012)
Kaye College -Curator Uri Peretz (December 2012)
Gabriel House- Curator Yael Nitzan( February March 2013)
Ayelet Hashachar Gallery, Tel Aviv -Curator Motti Golan (September-October 2013)
Nirla, Bethlehem of Galilee – Dr. Zederbaum ( October -November 2013)
Online Exhibitions "Biglal" Magazin (Curator Dr. Nurit Tzederboim)
"Place and Location" Magazine, curator Dr. Nurit Tzedreboim- December 2012
"Light and Shadow" Magazine , curator Dr. Nurit Tzederboim- March 2013
"Family and Closeness" Magazine, curator Dr. Nurit Tzederboim June 2013
"Heroes and Heroism" Magazine, curator Dr. Nurit Tzederboim - August 2013
"Dream and fantasy" Magazine, curator Dr. Nurit Tzederboim - March 2014
"Jubilee and Holiday" Magazine, curator Dr. Nurit Tzederboim - September 2014
"East and West " Magazine, curator Dr. Nurit Tzederboim - December 2014
A collective exhibition – The Cottage of Israel, San Diego California
Painting: Mrs. Halyamani (was chosen to represent Israel at the exhibition)
Curator: Smadar Samson April 2014
www.cottageofisrael.com
http://www.sdjewishworld.com/2014/06/16/artists-picture-fused-israel/
An online Art Magazine No. 44 – Tammy Lauper*
Http://art-magazine.wix.com/44degrees - "Viewpoint 2013
http://art-magazine.wix.com/44degrees "Circles" 2013
http: //art-magazine.wix.com/44degrees People "" 2013
http: //art-magazine.wix.com/44degrees- "Fantasy" 2013
http://art-magazine.wix.com/44degrees "Secrets" 2013
http: //art-magazine.wix.com/44degrees "Woman" "2013
*At the Israel Museum in Jerusalem, Israel.
Cyclamens Online Magazine, March 2014
http://www.cyclamensandswords.com/
"Trails" (Shvilim) Magazine - Author's House, City of Modi'in, Israel. Curator Dr. Rachel Avraham – Eitan, June 2014
Sights Journal, September 2014
A curatorial research article was Mally's work was published, by researcher and curator Dr. Nurit Tzederboim. "Sights" Journal, Ariel University, September 2014.
https://plus.google.com/108037162525945272402/posts/UswofN2VrZ9
Link to the published academic article- Israel National Library:
https://plus.google.com/108037162525945272402/posts/UswofN2VrZ9
Artisttableonline, November 2014
Following are links to Mally's art online:
https://sites.google.com/a/artisttableonline.com/land14/020
https://sites.google.com/a/artisttableonline.com/land14/021
https://sites.google.com/a/artisttableonline.com/land14/022
https://sites.google.com/a/artisttableonline.com/land14/023
A Solo exhibition, Dan Eilat Hotel, February 2016
"Shed" Journal, Beersheba (Ben-Gurion) University, Mally's painting was on the cover of 2016 edition.
https://www.facebook.com/%D7%A6%D7%A8%D7%99%D7%A3-
http://l.facebook.com/l.php?u=http%3A%2F%2Fin.bgu.ac.il%2Fhumsos%2Fheblit%2FPages%2Fmagazine.aspx&h=mAQHpd8QG
This work is a kind of game taken place in memory, spread between a mature person's perspective and a child's. This space is partially ventilated and partly populated with fantastic, disturbing images. The late perspective floods the experience of loneliness at early childhood, yet also puts it in a festive light, surprisingly, rather than in dark and bleak light.
Memories of dark night journeys to grandma's house, alone in the threatening shadows, take on an opposite expression: The background is bright, the figures are colorful, hovering around a common center of attraction.
But the feeling of hovering is not liberating but rather troublesome. The mixing of the human and the living, the connection between exaggerated and distinct body parts, the multiplicity of piercing eyes, and in the center - the white stain, emptied- all these create the feeling of a twisted world. The anxieties, the nightmares, disassemble the image of the world as we know it. and turn it over again and again. The dismantling allows an experience of liberation and but also of chaos, of a game, of dizziness and madness.
This work is a kind of game taken place in memory, spread between a mature person's perspective and a child's. This space is partially ventilated and partly populated with fantastic, disturbing images. The late perspective floods the experience of loneliness at early childhood, yet also puts it in a festive light, surprisingly, rather than in dark and bleak light.
Memories of dark night journeys to grandma's house, alone in the threatening shadows, take on an opposite expression: The background is bright, the figures are colorful, hovering around a common center of attraction.
But the feeling of hovering is not liberating but rather troublesome. The mixing of the human and the living, the connection between exaggerated and distinct body parts, the multiplicity of piercing eyes, and in the center - the white stain, emptied- all these create the feeling of a twisted world. The anxieties, the nightmares, disassemble the image of the world as we know it. and turn it over again and again. The dismantling allows an experience of liberation and but also of chaos, of a game, of dizziness and madness.
This work is a kind of game taken place in memory, spread between a mature person's perspective and a child's. This space is partially ventilated and partly populated with fantastic, disturbing images. The late perspective floods the experience of loneliness at early childhood, yet also puts it in a festive light, surprisingly, rather than in dark and bleak light.
Memories of dark night journeys to grandma's house, alone in the threatening shadows, take on an opposite expression: The background is bright, the figures are colorful, hovering around a common center of attraction.
But the feeling of hovering is not liberating but rather troublesome. The mixing of the human and the living, the connection between exaggerated and distinct body parts, the multiplicity of piercing eyes, and in the center - the white stain, emptied- all these create the feeling of a twisted world. The anxieties, the nightmares, disassemble the image of the world as we know it. and turn it over again and again. The dismantling allows an experience of liberation and but also of chaos, of a game, of dizziness and madness.
This work is a kind of game taken place in memory, spread between a mature person's perspective and a child's. This space is partially ventilated and partly populated with fantastic, disturbing images. The late perspective floods the experience of loneliness at early childhood, yet also puts it in a festive light, surprisingly, rather than in dark and bleak light.
This work is a kind of game taken place in memory, spread between a mature person's perspective and a child's. This space is partially ventilated and partly populated with fantastic, disturbing images. The late perspective floods the experience of loneliness at early childhood, yet also puts it in a festive light, surprisingly, rather than in dark and bleak light.
Go home
where are you
A flat tire
“All My Fears”
“Go home”
“where are you”
“A flat tire”
“Me and Lirani”
“Laughing”
“The Rabbit Of Etgar”
