With the Wind, With the Water
One Channel screening divided in Two squares ------- 6:14 min, 2015

Text by Hila Cohen-Schneiderman
Hilla Toony Navok is known predominately as a sculptor and a painter, but she actually started her artistic path in the field of performance art. In a way, her current work is a video-performance-drawing-sculpture, like a collage that brings together these four media. 
In recent years, Navok has been tracking down the signs of Modernist architecture and aesthetics in public areas in the Israeli periphery. Through these she attempts to decipher the language of “standard” design. Her works engage with the desires and fantasies embodied in the design 
cheap commodities, and expose the gaps between what we can afford and who we wish we were. 
For the most part, Navok’s works are based on quotidian spaces that undergo a process of abstraction. However, in this work the movement between these two realms is reversed, as Navok steps into the intimate space—the homes of the people who inspire her works. Into these private spaces she introduces abstract formal elements which have a monumental presence in the public space, as a graphic ornament on the side of a building or an element in the middle of a fountain. When Navok tries to control a huge blue ball, or stretch a yellow sheet of plastic into a line, another unpredictable variable enters this action — the weather, which creates an arena of struggle between the artist and the Modernist spirit and formalist elements it carries. 

Text by Adam Aboulafia
In the video "With the Wind, With the Water" by Hilla Toony Navok, a blue ball rolling out of the depths of the earth (the parking lot) intersects with a yellow strip stretched from the sky (the apartment building), on top of an oasis (the fountain in the desolate neighborhood square).
The dual vertical screen refers not only to a formalistic composition of two elementary materials (the earth below, the fire above), colors (the blue and the yellow), or forms (the spherical volume and the curving line), but also to the irony embedded in all these “natural” and sublime abstractions as they are carried out using artificial products (plastic), and in an ostentatiously social and daily space.
This ironic duality is maintained primarily by a play of presence and absence.
On the one hand, the square is nearly empty, and therefore gains a thing-like presence unfolding
in a continuous apocalyptic present, where the formalistic residue of culture tends to blend with the natural elements through the unifying force of climate; on the other hand, the fresh finish of the “provincial modernist” architecture and the sudden glimpses of everyday life (a few people fleetingly glimpsed at the edge of the frame, a song heard from the radio in one of the apartments) repeatedly stick tickling pins in the metaphysical balloon. Specifically, the wind that brings the earth and the fire together in the water constantly blows in and out of the sails, while the living and working body responsible for everything is intermittently revealed.

Photography: Itay Marom / Editing: Eyal Sibi / Music: Gizi Zuckerman /
Sound editing: Yossi Ron, Eyal Sibi
Thanks go to: Amsily family, Meili family, Ashdod municipality Spokesperson office, Yoni Raz Portugali, Dan Geva.
Special thanks to: Ian Sternthal and Helen Amsily

The video is available for watching on vimeo
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