At the beginning of creation stands free form, but already, one has to apply certain restrictions. The organic, mostly plant-like motifs refer to cultivated nature. Similarly to cell division they come into life through multiple replication: with a mirror, the artist projects numerous fragments next and on top of each other, giving rise to fragmented constructs, not ‘authentic’ nature but rather mutating fragments of tamed fauna and flora. In a second step, Sasportas adds a grid-like system made of regular, direct and clear lines. Again, one has to relativise: the perfection of the linear grid suggests a technical origin, but is in fact the product of neat and careful craftsmanship.

Two types of drawings face each other: one freely found and another drawn with a ruler, two worlds, a spontaneous and emotional one and a calculated, rational one. Where the factual drawing gives way to the organic forms, small empty spaces appear on the paper, which break through the barriers of objectifying language. Lined up like pearls on a string – Sasportas calls them “eating lines” – they formulate yet another ornamental system. Suddenly, from within the rational diagrams emerge charming lace edgings.

(Excerpt from: Christina Végh, XXXX in: Yehudit Sasportas, Kunsthalle Basel, 2002.)

Yehudit Sasportas, born in Asdad (Israel).