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Ricardo Pau-Llosa, 2009

The central paradox of Eva Toker Jawerbaum’s new works on silk is the patterns of randomness. Beneath the simple instinct to rhythm sensorial data into forms lies a more significant impulse—to map randomness in a truthful manner. The codes of such mapping emerge in Jawerbaum’s works—spider webs, geodesic domes, flashes of urban life. Alongside these codes emerge icons of action and will, particularly the human figure, if in a spindly, almost floral or ghostly elongation, as well as imprints from the natural world whose textures cluster into bloom and orifice. The seeming randomness pays homage to sedimentation and reef, with their sovereign plots and fossil witnesses. In some works a book-like symmetry is entertained through the presence of a central vertical axis, or the presence of a layered void centered at the base, but in other works centrality is resisted. These unscrolled veils of silk—their very substance is fire translated into the tactile—evoke frailty yet are strong. Their zen elegance belies a tumult of images, a cataract worthy of fevered sleep. And everywhere there are images which forge the most audacious metaphors—wood-grain disks that conjure the moon, the yin of leaves amid the yang of calligraphic strokes.

For all their sensuous appeal and sober chromaticism, Jawerbaum’s new works are grounded in an idea which functions as their paradoxical core. They announce that the threshold of the imagination is the freedom of thought, and not, as psychoanalytical superstition would have it, the other way around. That is to say, a willingness to unleash reason from the confines of predictability, but not from the rigors of sense and analysis, is what leads to an act of the imagination. There is no suspension of exclusions, no callous openness to chaos of the kind which the collagists of Dada and Pop reveled in. There is an abiding cultivation of beauty in all these works, a confirmation of the vital power of visual pleasure.


Rosa Faccaro, 2009


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