Kanarek uses the square as a basic metaphor for space. Illustrating the universality of territorial dynamism, "Not Yet, No. 1" is a linguistic composition that examines spatial construct that is marked by both Modernism and globalization.
The words, “Not Yet” reference Reem Faddaʼs essay “Notyetness” which uses the term to describe the state of Palestinian national project. Despite the inert constant lack of notyetness, it becomes a driving force of action and self-regeneration. Notyetness proposes a break in the period of digress, it is a zone where everything is possible.
Linearly organizing the piece are incomplete rows and gaps that articulate an imagined physicality. Using a range of blues and greens the words "not yet" in Hebrew and Arabic fill the picture plane, describing a collective feeling of mixed emotion. In between the words and grid is a knitted fabric of social connection the probes the meaning of one single thread that has looped into itself.
Transliterations: Hebrew - Ada'in Lo / Classical Arabic - Hatta
About Yael Kanarek
Yael Kanarek’s multimedia works explore the relationship between language and emotion, between movement and identity. Her installations often feature words in delicate, lace-like strings of moulded rubber letters in multiple languages, including Hebrew, Arabic, and English. Kanarek is best known for her ongoing project begun in 1994, World of Awe, a virtual travelogue synthesizing photography, sculpture, and text. The fictional traveler is gender-less and nation-less, wandering in an alternate reality called Sunset/Sunrise and leaving behind love letters.
American, b. 1967, Israel, based in New York, New York