In his new series of works, artist Boaz Sides deals with the "in-between". The female characters in the works sit, lie down, stare into space, as if waiting for something to occur. They seem to be in a constant state of anticipation, in a place where time bends to include what has been and what is yet to happen. The shades of the sky between day and night – pink, yellow, orange and purple – dominate the compositions.
It seems clear that the characters, to which the artist refers as "sirens" – the mythological creatures – hold devastative potential, yet we do not know the true consequences of their actions. Their eyes watch, look forward, anticipate, predict. At first, the sirens seem quiet, immobile, yet while watching them one feels deep unease. Their gestures raise the viewer's speculations about what may happen or has happened here – should we fear the sirens? Is the event over? Will it reoccur?
The only "event" in the exhibition meets the spectator even before entering the main exhibition space: on a large wall appear two hands, holding some unidentified object. The image is too zoomed in and too general, as if the artist intentionally selected such a mundane part of the whole so it will be impossible to place this image in a sequence of events or context. The hands are the only active feature in the exhibition, the only place that includes some sort of happening. In front of them, Boaz positioned a "warning" that completes the imagined triangle composed of the gallery and the large mural – it is a site-specific installation made of two sailboats, overlooking the women's images in the closed gallery as well as the hands painted on the wall. The wrecked ships alert to approaching danger and point to its expected force, or perhaps notify that the threat has passed. Yet this threat is never removed or materialized – the triangle moves constantly between the proceeding danger and its realization, between movement and stillness, in-between.