Linoleum Installation

Linoleum Installation

Linoleum Installation

Published: 1997

Size: 500cm x 500cm

Method: Linoleum, lino prints

Participated in:

“In some cases, these works come very close to the limits of what is seen as an installation, or Even overstep them. As is happening in so many other domains of modern art, this raises questions about the limits or definitions as such. What is that defines a work of graphic art; is it still possible to draw a fine line between what is a work of graphic art and what is not? That is what the work of Billha Zussman is about. It is about the relation between copy and original, identity and its mirror image. The work shown here has previously been exhibited at the Old Basius Church in Delden, the Netherlands where it was awarded the first prize for monumental graphic art.

From the jury report (may 1995)

“…what is striking here is the tendency to turn space and light into a substantial element of the work of graphic art itself. The result is a “ double play” between the space within the work and the surrounding space in the church. (….) As soon as one enter the church through the double doors of the tower, one is greeted intriguingly, almost overwhelmingly, by Billha Zussman’s work. In the slightly lopsided arrangement of the central installation of printing forms and prints, we notice an ingenious use of the chandelier and the light coming in through the church windows. Billha Zussman finds numerous new possibilities for the traditional applications of the old lino cut techniques, and in addition has developed numerous completely new applications. She combines prints from the printing form with prints on the printing form; she uses repetitions, reversals and overlapping, and, what’s more, she uses the cut out lino plates as sculptural element. (…. ) The installation is a three-dimensional compilation of colourprints and their image carriers. The image carrier functions on several levels; as an image carrier and, when printed with images of other printings forms, as an image in its own right. Thus, usual functions are being reversed.

The result is something like a montage “laying bare” or even “dismantling” the “insides” of the work and the printing process. In the image of the picture cut out of the lino and/or emerging from the lino in prints, Zussman splendidly applies two of the old characteristics of graphic art: the interaction of black and white and the intrinsic value of the line. Billha Zussman proves to be a graphic artist who combines a deep understanding of tradition with an almost boundless zest for experiment.( … )”