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Dafna Rehavia

  • WiTNESS
  • Invisible Wounds Project
  • BINDS & BONDS: Symbolic Somatic Experience
  • About
  • Exhibitions
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Tracing Shadows coming soon

SPITALE - VKU

WURZBURG, Germany

An international project of the artist and the poet,

Dafna Rehavia & David Ian Hanauer

Tracing Shadows invites voices, memories, echoes, and emotions from both past and present to surface, be witnessed, and shared.

Through sculpture, installation, fiber art, screen printing, video, poetry, and handwritten text, the artists engage with the psychological echoes of familial and inherited trauma. The works do not attempt to resolve these histories, not the present times, but rather to acknowledge their presence —the on going violence, and to trace the shadows they cast across bodies, relationships, and cultures.

Mirroring or confronting experiences of violence, loss, and silence, the exhibition opens a space for empathy and reflection. It proposes that growth can emerge through acts of recognition, exposure, and care. In this way, Tracing Shadows becomes a bridge between past and present, personal memory and collective experience, inviting a shared dialogue that honors vulnerability, resilience, and the possibility of repair.

“There is a crack in everything, that’s how the light gets in.”
— Leonard Cohen

our stories

‘Patterned and Pressed into Place’

A screen print on a squashed fabric with texture of plaster like tinte, attached to an iron board. Image of my mother when she was 9 or 10 years old, 1938/9 was taken in Jerusalem. She is wearing a beautiful dress that her mom made for her and holding a little girl bag that maybe holds all her dreams.

Mourn for me

Just a segment of a house wall,

canvas, plaster, cardebord, text, string, .

she said no

Mixed Media, collage, ready made, paint , masking tape, hand writing, photographed and printed on fabric .

RE_PAIR

Through the image of two upended upside, skeletal bounded chairs. RE_PAIR explores the tension between destruction and restoration. A dual meaning of the title; repair what is broken and re-pairing symbolically two souls through kind of dance movement as they suspended in that position.

CUTTING קול מילה מיותרת: מילת נשים

Agora Gallery, NY City. NY

Fiber Art International Pittsburgh, PA

CA Gallery Baltimore, MD

My series Cutting challenges the oppressive objectified and dehumanizing phenomenon of Female Genital Mutilation(FGM). This practice, still performed across the world, subjugates the female body and is a basic violation of women’s rights and future. Through my artistic objects I would like to bring into visibility, recognition and awareness what is far from the eye and mind of the art gallery spectator. Cutting aestheticizes an inhuman experience that if presented as is would be sickening to observe or tolerate. This body of works is made of clay, rusty springs, sticks, threads and staining. My artistic process here is important and involved kneading, shaping, pocking, tearing and cutting, embedding and stitching the clay in a symbolic act of FGM.

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RITUALS & THE DOCILE BODY

CA Gallery. Bultimore, MD

Solo Exhibtion including installations.

Creating sisterhood between women that religions trajectories constrained their lives.

(Prayer rugs, fabrics, text, menstrua pads, bowels)

https://sway.office.com/EHZxG9YCJrGR4swD

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HONORING

Artsmiths Gallery Space and Spinning Plate Art Space. Pittsburgh, PA

Installation 6’ X 5’ X 6’, Fabrics, printed hidden texts, nails, sand, and stones

Honoring is a critical work on all domestic abuse, presenting the act of Stoning. The act of Stoning is no different from any other weapon as the intention is to kill. This Installation reveals the violence imposed on women’s bodies. It exemplifies acts of honor killing and domestic abuse. The material used in the work are meant to express the vulnerability of women’s existence.

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REMNANTS

SOLO EXHIBITION - FOOTS- STEPS IN THE SAND @ Pittsburgh Center for the Arts

Remnants Installation exhibited as part of the Solo exhibition Footsteps In The Sand. Temporariness is been researched through different objects and processes including reference to Amos Oz novel on Love and Darkness.

Dress is made of menstrual pads. Some are printed with conflicting words : challenging the trap of Dualism

Shelves has Avocados skin, menstrual pads, bind stones, stitched plaster,

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PASSING

Space Gallery, Pittsburgh. PA.

Part of Relic group exhibition. Postponed because of Covid 19. will be presented September 2021

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FOOTSTEPS IN THE SAND

Pittsburgh Center for the Arts, Solo Exhibition

Pittsburgh, PA, 2016

https://sway.office.com/CrF0aXwrWftrbHYI?ref=Link&loc=play

https://sway.office.com/MCr0ZEHcOWB1g8sJ

In this installation, which is constructed from found/made objects, sculptural lines and forms, I touch on existential questions regarding the past and the present, identity and experience. I inquire into the uncertainty of being. I am exploring what is left and absent, moving from the ground to the open space, and experiencing transformation. I am trying to capture the line or vein to explore the signs, marks, codes and symbols that may still be recognized for what they were before. Fragmentation and existential anxiety can be felt in the pieces that are tied and connected by string and metal. The minimal emptiness and presence express feelings that cannot be articulated.

As I go through identity transformations, I recognize the marks that have been left by own experiences and traumas continue to live in me. The wish to let the narratives be memories reduced to a non figurative suggestive sign or a cut, a wound, a void, a footprint, a word, a letter, a pain, and a blank. The installations that I formed become an idiosyncratic text that is open for interpretation.

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UPROOTED

Pittsburgh Center for the Arts. Uprooted exhibtied in the Solo exhibtion Footsteps In The Sand.

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BORDER

PIttsburgh Center For The Arts

Pittsburgh, PA

This installation was part of the solo exhibtion Footsteps In The Sand.

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RELATIONSHIP I

Relationships I, Farmhouse & Jask Gallery, Pittsburgh, PA, 2017

Mixed Media, modeling clay, oil paste, 12” X 8”

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Scar

West Morland Museum, Greensburg, PA

Seaton Hill University. Harllen Gallery. Greensburg, PA

Mixed Media, clay, readymade healing objects, fabric, threads, 3’ X 1’

This work is comprised of four square clay panels in which commonly used items for healing physical wounds become metaphors for mending the pain of loss.  This work is related to my father’s passing and some of the items he left beside his bed.  

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WHAT IS A FLAG

Hoyte Museum, New Castle, PA

Mix Media 40”x40 (cardboard, fabrics, threads, paint, nails)

This work symbolically paraphrases the American Flag to express political and social turmoil and the instability of nationalistic ideas.

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85'S - 95'S

My Artworks from the 80’s to 90’s

These are the first traces of my journey in art. At the time, i could not fully know their weight. Each piece holds a fragment of my inner life - my reactions to social and cultural experiences - my hidden emotions, and the echoes of what remains unresolved.

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Back to Art- From Exhibition Projects
8
CUTTING
17
RITUALS & THE DOCILE BODY
6
HONORING
8
REMNANTS
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0
IV/ID
7
PASSING
14
FOOTSTEPS IN THE SAND
9
UPROOTED
3
BORDER
3
RELATIONSHIP I
3
SCAR
DafnaRehavia__My American Flag BW _Mixm.jpg
3
FLAG
14
80'S TO 95'S

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