visual artist / photographer

 

 

 

 

 

orna wertman

art works exhibitions books publications contact

1992- Kunst Beeld | 1994- De Telegraph, De Volkskrant | 1999- De Telegraph | 2000- De Volkskrant | 2002- Kunst Beeld | 2003- Wall Paper -Exhibition 'Lovely Birds' | 2004- TIME Magazine -Art room 'PuzzleView' (503), Winston Hotel, Amsterdam http://www.time.com/time/asia/tga/article/0,13673,501041004-702187,00.html | 2005- Parool, Adformatie magazine | 2006- saatchi-gallery./ your gallery | 2007- PhotoQ -'Extreme Places' Photo Contest, California Museum of Photography, USA | 2008- Kunst Beeld | 2010- NRC | 2011- Eindhovens Dagblad, Gup Magazine

2003- FreeEye Magazine -Exhibition 'Lovely Birds', March 2003, Amsterdam.

Following on from her solo exhibition 'Photography, Airplanes & Sheep' in the De Beyerd Museum in Breda (2002), involving photographic works and installations, the photographic artist Orna Wertman has been exploring further the theme landscape and 'birds'. In the 'puzzle collages' she combines fragments from existing kitsch puzzles with photo material. In the new, seemingly realistic image, photographs of airplanes are added to self-created, often charming landscapes. At first glance, the airplanes 'Lovely Birds', which give the viewer a feeling of freedom, appear to be flying towards an untouched landscape, a place where all things are in harmony. Upon closer examination, the airplane turns into a roaring, burning monster, an extension of the destructive, consuming and war-mongering power of man. The landscape also seems harmonious, but this is deceptive. With every new project, Wertman redefines reality into perspective, and attempt to come to terms with the limitations of life. Orna Wertman's work links various art disciplines. She does not acknowledge any difference between the visual arts and photography.

2008- Kunst Beeld - 'Broken Landscapes'

..Orna Wertman does it differently. She goes back to the 'old' device of the collage to mislead the eye. She creates landscapes which are familiar at first sight, but which don't seem to be 'right' when you take a second look at them. It's always about two situations in the landscape which are combined to one image. In this way, compositions come into being, which, at one time, refer to the 'classical' composition, but which are more often shaped into an image (that is to a certain extent homogenous) in which an apocalyptical component is present. These are landscapes which seem desolate and barren, unmanageable and also somewhat threatening. These are the sort of subtle and metaphorical components that demand not only a second look at Orna Wertman's collages, but also a third one.

- Robbert Roos