‘The Red Line’, Doron Gazit
Representing “the blood vein of mother nature”, environmental artist, activist and designer Doron Gazit’s The Red Line Project highlights ecological devastations at locations affected by climate change.
The red three-dimensional line has been placed temporarily along the sinkholes of the Dead Sea in Israel, among the icebergs of the melting Knik Glacier in Alaska, in the burnt forests and dry lakes in southern California, and in the devastated Salton Sea area.
Gazit plans to take his project further to the melting glaciers in Patagonia and Antarctica, the disappearing forests of the Amazon, the Oral Sea in Russia, and many more.
His “lines” in the landscape, which are literal extensions of the act of drawing, are intended to be interventions, which draw attention to environmental degradation. On these bleak landscapes the Red Line creates haunting images, alerting observers to the urgent need to remedy and protect our endangered environment.
Gazit became enchanted with air-filled objects when, as a student of the Bezalel Academy of Art in Jerusalem, he introduced balloons to Bedouins in the Sinai desert. Rouch, the word for “wind” in Hebrew and Arabic, is also translated as “spirit,” and it is this dual meaning that continues to intrigue and guide Gazit in his work.
About Doron Gazit
Doron Gazit is an environmental artist, ecological activist, and designer whose installations engage the landscape. With nature as his canvas, he reveals the invisible currents of nature. His three-dimensional lines and inflatable structures sculpt the air and reflect the sun. They create a dialogue of air, wind, and sun.
Gazit became enchanted with air-filled objects when, as a student of the Bezalel Academy of Art in Jerusalem, he introduced balloons to Bedouins in the Sinai desert. Rouch, the word for “wind” in Hebrew and Arabic, is also translated as “spirit,” and it is this dual meaning that continues to intrigue and guides Gazit in his work.
With his “Red Line Project,” a series of worldwide temporary installations, his bright red three-dimensional line is a metaphor for the blood vein of mother nature.
Gazit is now documenting serious ecological devastations at locations affected by climate change and our misuse of the environment. He has placed his Red Line along with the sinkholes of the Dead Sea in Israel, among the icebergs of the melting Knik Glacier in Alaska, in the burnt forests and dry lakes in southern California, and in the devastated Salton Sea area.
Gazit plans to take his project further to the melting glaciers in Patagonia and Antarctica, the disappearing forests of the Amazon, the Oral Sea in Russia, and many more.
His “lines” in the landscape, which are literal extensions of the act of drawing, are intended to be interventions, which draw attention to environmental degradation. On these bleak landscapes, the Red Line creates haunting images, alerting observers to the urgent need to remedy and protect our endangered environment.
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