Zila Friedman’s works give expression to two states : the fixed, thee bounding, the frame and the dynamic, which has capacity for motion, for flight, Actually, the artist expresses the longing to overcame the static in order to move, to flight, to get free. …..
One may interpret these states as symbolic, in view of her personsl biography (confrontation with a physical limitation.) But to same degree one may attribut metaphysical values to them (body, soul, spirit).
The artist makes use of images-a dolphin, a bicycle, a sward, a hat…which are elevated to the status of object of admiration. A yearning for the dolphin's freedom of movement, for example, or the powerful sweep of the sward. The bicycle moves on a horizontal axis, which does not allow penetration into the painting’s space. It appears in the works as a counterweight to dolphin’s freedom. The hat simulated a barrier, a limitation of freedom; it appears here as a head covering, a symbol of the ultra –Orthodox world which the artist grew up in. ……we find the same ambivalent approach in the artist’s attitude to the static components which symbolize blocking – the grid and the drawing. On the one hand, they imprison and embed the image inside the format of the paper. On the other hand, Decisive and dynamic lines of drawing have the potential of bursting out, of flight. the compulsive treatment of the background, they are the closest to reach the top, to burst out of the frame.
…..Zila Friedman, in her works, blends the sensation of paint (the awareness of limitation, which accompanies every attempt to burst out of the frame) and the
senstation of exaltation (the intoxication that stems from attempt to burst free, which is condemned to failure from the outset). comprises the Romantic concept of the sublime.
From an article written by Surin Heller, Daily Survival, Janco-Dada Museum, 1995