Noa Ironic's works include an ongoing engagement with representations of masculinity. In recent years she has focused mainly on images of riders and their horses, which she has described in situations of spectacular and embarrassing crashes and loss of control. Despite the geographical and cultural remoteness of the horse-racing industry, she found in it an aesthetic and metaphorical interest in it as a representation of forceful and chauvinistic masculinity on the one hand, cumbersome and pathetic on the other.

In the current exhibition, Noa returns from her wanderings in the stronghold of the British nobility to the everyday local reality, and depicts in vivid colors, humor and blatant pictorial language bordering on the cartoon men in her life and our lives. Girl friends with whom she grew up in the city of Eilat, known in the explosions of South Tel Aviv, men who throw comments and compliments that are actually insults, blazers who stand outside the club hoping to enter. The works defy images of militant, pioneering, successful-high-tech Israeli masculinity, and seek to celebrate the culture of the combine, the legitimacy of getting anywhere in flip-flops, the unapologetic machoism, one that will go into battle for a parking space. Noa strives to produce for "her people" works of art that they can identify with, that will see themselves, their friends from the neighborhood and also the unfulfilled fantasy of us all - get out of the car and scream about the one who cut us off on the road. In doing so, the exhibition seeks to break through the barrier of elitism and inaccessibility that characterizes the local field, for which many choose to exclude themselves from the spaces of art. "I came to honor" is said when you come to someone's joy, and maybe now to an exhibition as well.

The painting practice and the direct and grotesque style raise questions concerning the position presented in them and the artist's point of view in relation to the objects of the painting: is it an attempt to give expression to a social group that is not adequately represented in local art, or is it From the heart of the local art field? Is this a feminist critique of one who finds herself hurt and troubled by masculine looks and often sexist remarks, or are her paintings expressing fascination and attraction to the sex-appeal of rough and forceful masculinity? Are the characters in the paintings stereotypical cartoons, or do they reflect a sincere interest in the complex and layered complex of Israeli society? The viewers will be honored and decide for themselves.

Noa Ironic (b. 1993) lives and works in Tel Aviv. Bachelor of Arts in BFA Art from Shenkar (2019). Winner of the Participation Award at the Edmond de Rothschild Center for Art and Design (2021). Exhibited at the Spring Exhibition of the Charlottenborg Kunsthalle Museum in Copenhagen (2020). Presented at the Independent Artists Incubator of Fresh Paint Fair (2020). Winner of the America Israel Cultural Foundation Award for Outstanding Final Exhibition (2019-2020). Presented a solo exhibition at the Place X Gallery in Milan (2021). Her works are included in private collections in Israel and abroad. This is her first solo exhibition at the gallery.