Untitled #488, Oil on canvas, 2020
Photographed by Michael Amar

Forthcoming exhibitions and projects

Solo exhibition at DaXiang Art Space gallery, Taichung, Taiwan
Dates: June 19, 2021-August 8, 2021

Biosphere project in collaboration with Nomas Foundation
Scheduled for Autumn 2021 in the United States

After the Tribes installation, Museo Boncompagni Ludovisi, Rome, 2018
Photographed by Vartivar Jaklian

After the Tribes, detail, Museo Boncompagni Ludovisi, photographed by Vartivar Jaklian

After the Tribes, Domaine du Castel Vineyards, Jerusalem Mountains, photographed by Michael Amar

Most Recent Exhibition

Exhibition title: After the Tribes

Dates: October 11, 2018 – January 31, 2019

The exhibition was curated by Dr. Giorgia Calò and supported by the Nomas Foundation.

After The Tribes  was further exhibited as a public art project at ArtTaipei, at the Taipei World Trade Center, Taiwan, from October 18-21, 2019.

SEE EXHIBITION PAGE

Studio

Beverly Barkat started working in her current Jerusalem studio in 2009. She has been exploring drawing and painting with mixed media on paper, self-stretched canvases and PVC, while incorporating skills and techniques acquired from the various art disciplines in which she specialized. Her two-floor studio is located in Jerusalem’s centre and overlooks the Architecture Department of the Bezalel Academy of Arts and Design.

Artwork

Barkat’s early works were largely figurative and in keeping with the traditional Western genres. Around 2009, she made a turn towards formal abstraction and although she continued to draw from life, she started to deconstruct the figure and at the same time, capture movement on a two-dimensional surface with dynamic lines.

In 2014, her series of paintings inspired by Japanese calligraphy earned her the Curator’s Award at the 28th International Exhibition of Art & Design in Kyoto. A year later, Barkat started experimenting with new techniques, application methods and materials, the most prominent being the use of transparent PVC sheets. Sally Haftel Naveh, the curator of her 2017 exhibition in Venice, comments on her use of this new material in the exhibition catalogue:

“The PVC sheets that Barkat picks for her paintings differ from other more conventional supports first and foremost in their transparency, so that while each side carries its own self-contained painterly motif, it echoes at the same time the one found overleaf. The work process progresses on both sides simultaneously, in constant symbiosis, free of any predetermined precepts or hierarchies.”