In the physical space occupied by Shay Frisch compositions, electromagnetic fields are metaphorically interwoven.
Through the emitted light the pregnant proof of their existence become visible.
Shay Frisch, israeli-born and Italian by adoption is a complex artist, his story is condensed in the rationality of his luminous weavings, which represent an unicum in the field of contemporary art. The linearity of its language evokes the pictorial dimensions that have marked the avant-garde of the twentieth century, from Mondrian to Rothko.
His symbolic pieces result being the radical synthesis of a strichtly articulate design whose formal references draw on Spatialism and, particularly on the early Sixties motives of Lucio Fontana's "cuts". As well as him, Shay Frisch works following a rigorous and formal essentiality that often recalls the experiments on light made by the Italo-Argentine artist.
The suggestions of Frisch's works draw a line between reasoning and irrationality, a search for synthesis and minimal recomposition.
Glimpses of light emerge from the repeating of black or white components. By tracing three-dimensional layers on his composition, he transfers to the viewer both his emotional tensions and human experience. With a clear demarcation between what belongs to light and what to darkness he searches for certainties and answers to his insecurities.
Machinist of energy, Shay Frisch adds value to ordinary industrially-produced materials, such as common electrical connectors. In his artwork these are joint one another, aiming to give form to the actual opus, meant as whole: a spiritual conception of physical and symbolic interaction between each single component with the oneness.
Thus, through the electromagnetic-generated, light-diffused field which permeates the exhibition space, the title symbolically refers on one hand to the intangible, invisible dimension of the pieces, on the other hand it indicates the work´s own material features: number and color of the elements exhibited.
In Shay Frisch work as in human society, every single piece is part of a wider system: each element, unsubstantial by itself, is necessary to the realization of a greater, universal picture.In this context, due to the complicity and complexity of the two languages the dialogue between the two artworks is charged with further significance.
While compositionally they both present light suggestions, on an ideological level they offer individual but organic readings, which appears complementary.
If Shay Frisch intends to interpret the lightening sign as the reason for existence, understood as the universal language of symbols - imbued with spirituality and result of rational thinking - parallelly Christian Boltanski investigates human existence, the meaning and significance of life and death, the past and what is left. With the numerous stories enclosed in the belongings and photographs that he collects, he leaves us record of human life. The heterogeneity of the methods with which the two artists finalize the light in their works is an expression of their way of dealing with personal experience; a dialogue that, while finding a common ground at the point of origin, simultaneously intertwines with the artists individual researches and outcomes; intertwining that for Boltanski manifests itself in strong and serious emotional reactions outlined by a tenuous luminosity and that, for Shay Frisch, results in a calm and rational analysis, marked by strong and intense light but not less permeated by emotional tension.
The dimension of light in Boltanski outlines the boundaries of the work, of the installation in relation to the walls that contain it. In this three-dimensional space light acquires a symbolic, logic-narrative function. In Theatre d´ombres, by articulating light and dark or through animated projections it even operates on a temporal level.
Shay Frisch otherwise contains the light within the work as expression of the ardor of the material that composes it, as a light spectrum radiated by the energy contained therein, which, through the gash, reveals existence. His work is rigorous and scientific, but not less charged with that symbolism present in Boltanski, and which in both refers to meditation, spirituality, conscience.