Loophole extends between darkness and light, between the anonymity of the silhouette and a recognizable outline. Here, the artist has produced a self-portrait that is constantly moving, spinning on its axis like a mechanical mannequin. It may also be regarded as an ethnographic visual object that proclaims its otherness and its distinctiveness; an object one would like to regard as imploring us to categorize it in a way that may fix its meaning, to analyze and reduce it to the limitations of our knowledge. At the same time, it is a portrait devoid of excessive information, presenting the viewer only with an engulfing two-dimensional silhouette that tries to breach its designated bounds. An aperture or patch in the artist’s portrait turns into two gaping holes that may stand for her absent eyes, looking at us without looking. Gur is swallowed up by the black silhouette that gapes before us, demanding in vain to observe us as we observe her revolving around an invisible axis, bereft of distinguishing features yet distinctly present. (Text by Rotem Rozenthal)
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