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A closer look shows that the body's topography of the cast figures swarms with the activity of miniature figures, busy in a curious investigation similar to Jonathan Swift's Lilliputians, who were, as we recall, professional engineers and scientists: on the head of the seated woman are about thirty silhouetted figures (in the formation of a Mohawk punk hairdo), performing ambiguous movements.
Figures of Darwinian evolution climb on the back of the tilting figure, like a mountain expedition group.
Surrounding the figure which is falling backwards there are four images: one lowers a measuring rope towards the torso from a balloon floating above it; the third, standing on the navel, examines an object that resembles a camera obscura; and the fourth stands in a niche between the toes,
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as if measuring the distance to the ground with a plumbline. This Gulliver-like situation, both delicate and fragile, quiet and somnambulant can be interpreted in different ways. The figures are mediums for something, but for what?
Ben-David's sculpture - which has always striven to express a harmonic unity of feelings on the delicate balance of western and eastern cultures - summons in retrospect unexpected readings, like an illustration of a complex and tense sensitivity, reflecting an attempt (subconscious?) to touch upon the lost wholeness of the body, the spirit, the feeling.
Mier Agassi - A Comedy which Lost it's Body Weight.
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The extract from 'A Comedy which Lost it's Body Weight' is continued on the next page.
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