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Abraham Eilat’s profusion of drawings in the movie Psychophysical Time (2006), made up of human characters chasing each other, reflecting each other and piling one on top of the other, row by row. These resemble the Egyptian tombs whose walls are inscribed with the events and milestones of the lives of the deceased. The movie is based on a series of ink drawing drawn by Eilat since 2000, inspired by Egyptian and Assyrian wall paintings and images taken from newspapers and electronic media. The drawings are packed with human figures carrying flags and dispersing protests, figures of convicts and torturers, refugees and dejected people, soldiers eager for battle, slaves, people who look away from the carnage, people who follow blindly, obeying whatever commandment is handed down to them. The drawings flick forward in unending motion, piling up in one great mass of images, mirroring each other with no real cause or effect, without resolution or explanation, without criticism or protest. This goes on and on, and only occasionally a figure or group of figures is disentangled from this rapacious horde, emerging for a moment only to be sucked back in as order is restored- until the next brief interlude when another may emerge.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Psychophysical Time

Abraham Eilat’s profusion of drawings in the movie Psychophysical Time (2006), made up of human characters chasing each other, reflecting each other and piling one on top of the other, row by row. These resemble the Egyptian tombs whose walls are inscribed with the events and milestones of the lives of the deceased. The movie is based on a series of ink drawing drawn by Eilat since 2000, inspired by Egyptian and Assyrian wall paintings and images taken from newspapers and electronic media. The drawings are packed with human figures carrying flags and dispersing protests, figures of convicts and torturers, refugees and dejected people, soldiers eager for battle, slaves, people who look away from the carnage, people who follow blindly, obeying whatever commandment is handed down to them. The drawings flick forward in unending motion, piling up in one great mass of images, mirroring each other with no real cause or effect, without resolution or explanation, without criticism or protest. This goes on and on, and only occasionally a figure or group of figures is disentangled from this rapacious horde, emerging for a moment only to be sucked back in as order is restored- until the next brief interlude when another may emerge.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Twisted Reality
Irena Gordon
Yoav Raban
Riding Festival 2004
Galit Eilat