Human figures made from netting, newspaper, and leftover clothes comprise Meira Grossinger’s sculptural installation. The figures are, in fact, marionettes tied to strings that are pulled, becoming tangled. The marionettes move to the sounds of music with the help of wind produce in the space. The artist does not hide the work process from the viewer: the newspapers constructing the muscles and flash attest to the functionality of the construction material – the information flowing from the daily newspaper to it’s reader. Information as an illusory, short-lived power. The marionettes are “operated” by the one who pulls the strings. Their body parts move with distorted gestures as an expression of profound feelings, of the occurrencesin the depths of the soul. Their dance recalls the Japanese Butoh Dance which is highly expressive, stylized and yet restrained.

Who pulls the strings and guides the dance’s flow? Referring to this installation, Ada Naamani, wrote: “Marionettes are customarily likened to human beings whose movement in the world is dependant upon the unknown string-puller – whether God or faith… the tangle of string cannot be unraveled.”

In her installation Grossinger introduces questions about man’s fate and human choice, about the role of the artist who creates the work and the role of the viewer who experiences it’s activation. Ultimately, as is the way of all flash, the marionettes are cast into a heart-rending silent heap. Is this analogous to the condition of the aged in our country?

Another work by Grossinger combining sculpture and photography was created after Andrew Wyeth’s painting Christina’s World. A sculpted figure lying in a field observes a local Israely house with a broken roof. The house is projected in four colors symbolizing the four seasons. Here too, the artist alludes to the passing time that gnaws away at everything.