(b. 1967, Kibbutz Mizra, Israel; lives and works in New York)
Ohad Meromi is primarily identified with the moment in Israeli art in which a new generation shifted the focus from the object to the space, from sculpture to installation. It is a generation that introduced new ambitions, a new production power, an ability to rethink art as an environment (as was manifested in his pivotal 2001 exhibition "Helena" at Tel Aviv Museum of Art's Helena Rubinstein Pavilion). Rather than letter-like art which contains a content intended for an addressee, his work is an ambient experience that engulfs the viewer, shedding light on the transparent, invisible nature of ideology in his experience of the everyday. Meromi's gaze at the social, political, and class aspects embodied in architecture and the space gives rise to monumental installations. At the same time, in his paper works, he creates what may be termed a pop-like suprematism: a cross between the optimism of Soviet abstract and the melancholy of the poster. These works on paper continue the discussion underlying his installations, albeit in the purely aesthetic field.