Liat Grayver (Israel 1986) has graduated in 2015 from the Art Academy of Leipzig (MFA painting, class of Heribert. C. Ottersbach), and she is currently a post-graduate in the class of Joachim Blank (Media Art) and parallel at the class of Heribert C. Ottersbach (painting) HGB Leipzig. Since January 2016, Grayver has been collaborating with the University of Konstanz on the e-David Project, exploring various approaches to integrate robotic and computer languages in the processes of painting and creative image-making.
Grayver’s academic education has been complemented by a range of studies with artists of renown, as well as by several artist residencies. For example, in 2013–14, she was an Erasmus student at the Accademia di Belle Arti (Napoli, Italy), and during the summer of 2014, she studied printmaking under Mary Beth MacKenzie at the Art Student League (New York City). From 2010–13. She attended the Shiboku Studio (Haifa, Israel) in 2008–09 to study Japanese calligraphy under Kazou Ishii, and from 2005–07 she was a student in the Master Class of Israel Hershberg at the Jerusalem Studio School of Painting and Drawing (Israel).
Grayver’s professional experiences extend to teaching and giving workshop and lectures in various institutions, among others, ELES Kunstlab Berlin and University of Konstanz in Germany, and at MIT (Cambridge, USA).
Various institutions, including ELES Studienwerk, Leonardo scholarship and the DAAD, have supported Grayver’s work and studies. Her works have been exhibited in galleries, art fairs and museums. Since 2014, Liat Gravyer is based in Berlin and working in Berlin, Leipzig, Konstanz and Tel Aviv.
The whole of artistic activity can be described as an instance of self-regulation. Order in painting is traditionally achieved through the self-regulation of the painter and by external intervention. It is necessary to distinguish between — and balance — those characteristics relevant to the realm of individual artistic perception and that which is external to the artist’s motives, intentions and preferences.Print-making drawing, painting, photography, generated data and robotic technologies are tools used in my artistic practice to explore, retain and express visual information in relation to the digital and machine-based world we live in today. My work explores the different ways the body and mind perceive not only the visual objects themselves (such as painting), but also the process through which they are created — what is seen as a whole (form) and what is felt as energy (vector).
During the working process, passive materials (canvas, paper, wood surfaces, etc.) react to my active manipulation of materials upon them; both the passive and active elements are equally and reciprocally important to the process as well as to the finished work. Using and mixing different media in one work creates a rich context in which I explore the tension between marks that are made with body gestures and those made with different degrees of technological intervention. A work may consist of, for example, human and robotic brushstrokes, prints, photopolymer of digital painting and photographs on unmounted canvas.