How would you just describe what you're looking at?

Flushes of light in the dark.

It's like a fence that's blocking something and there is a human being behind this

fence so there is some sort of barrier.

Metal, plastic maybe? glass, black wires, illuminating lights, seven across seven down. The lights are not like the usual lights that we see. I mean lighting

our houses it's they are like bluish in the outside so it's light but it's not clear light.

A young girl or young child in a dark room.

It reminds the Holocaust. in a The somberness in her look, the darkened eyes, her facial expression, and we all have seen so many children of the Holocaust. She just jumps out as just yet another figure from

what we've seen. We've seen so many, right?

Mm-hmm.

I also see that we are in the light looking in and from our perspective of being in the

light our eyes are focusing on this figure, this child, but she's dimly lit, so we don't really know what's going on on the inside.

And certainly we don't want to be in there.

We'd rather be out here in the life.

And I think there is something symbolic in that picture for that kid maybe to be found or to get somewhere or to, know from darkness to light to see his family or I don't know maybe something like that.

So it's basically bringing her to life the fact that we look at this and talk about her.

So it's like making her alive again. And the This is the lonely palette.

This is the lonely palette. I'm Tamar Evishai. Episode 2.

Christian Biltanski's Lumiirs, Blue Sylvie, from the year 2000.

So kiss me and say you understand. The French artist Christian Botanski said, quote,

The less information you have, the more open the work, the more you can think about it.

Now, this quote doesn't exactly invite visitors to this piece.

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