Gabriela Schutz

'The Return', acrylic on canvas, 2.40m x 7.1m, 2023 This work shows a community of different trees in an environment that allows them to thrive. The large scale and panoramic scope is an attempt to give an impression of the space. It relates to the 19th century golden age of the touring panoramas, which allowed visitors to travel around the world without leaving their city. I’m using this format with the hope that my representation of the woods may be a reminder of the power of nature.

'RIP Old Oak', acrylic on paper, 150cm x 220cm, 2022 ‘RIP Old Oak’ is a depiction of an 700- 800 years old Oak that I found that it died since the last time I saw it, only a few months earlier. I asked my friend, the owner of the land, if it could remain in the meadow so it could support other lives. I was promised that if I painted it, the tree would remain there. This oak died naturally of old age, but I feel that it may have still been alive had it lived in a community of other trees.

'Gedem', recycled timber, approximately 35cm H x 50 W x 50 D, 2022 'Gedem' is constructed from recycled timber which I glued together and carved into. The straight lines and 90° angles echo the rectangle fields that have replaced wilderness. It is an expression of human efficiency and the submission of nature for our purposes.

'Seat', recycled timber, 35cm H x 25 W x 25D, 2023 'Seat' is constructed from recycled timber which I glued together and carved into. The straight lines and 90° angles echo the rectangle fields that have replaced wilderness. In ‘Seat’ I reconstructed the rings of the wood to form a circle. When starting to round the corners, I thought that the rings already refer to a tree, and therefore decided to leave the sculpture squarish, hovering between a tree shape and a piece of furniture.

'Human Force of Nature', recycled paper, H 17cm x W34cm x D 34cm, 2023 ‘Human Force of Nature’ refers to the timber and paper industry and the way we see nature as a resource for consumption. The work include my poem with the same title, which is printed on each of the papers stacked in post-it notes style, one on top of the other. The public was encouraged to take a page, which decreased the sculpture's height and recreate the process that happens when we cut a tree. When I cut the paper

The large vessel is 75cm hight, terracotta jugs by Orly Kritzman- Kadron, under glaze by Gabriela Schutz The symbol on the vessels is a personification for nature and our place in it. The container is the first tool humans used to collect and gather, to bring life. It is often been associated with the feminine as well as Mother Earth. This is the reason I chose to connect nature with the vessels.

Vessels by Orly Kritzman- Kadron, under glaze by Gabriela Schutz, 2023 The symbol on the vessels is a personification for nature and our place in it. The container is the first tool humans used to collect and gather, to bring life. It is often been associated with the feminine as well as Mother Earth. This is the reason I chose to connect nature with the vessels. The collaboration with Orly highlighted the symbiotic and beneficial relationships which exist in communities in nature.

Each sculpture is called 'Mother', Terracotta and clay painted with underglaze, Sizes vary from 20 cm to 35 cm hight, 2022-2023 The 'Mother' sculptures are a personification of nature and our place in it. They are based on Cypriot statues from 700 BC which were used for domestic worship. Their raised arms and tall hats suggest command and power, but in the 21st century, they also bring to mind a shout for help. I felt that we need to bring the Great Goddess back into our life and change the com