When Brian Belott started assembling “Upside Down Zebra” at The Watermill Heart in Water Mill, New York, he already had Sivan Lavie in thoughts. He had been watching her work on Instagram since 2016, drawn by the depth of her coloration and the strangeness of her supplies. He was additionally excited by posts of her making artwork with younger youngsters, with the identical seriousness and pleasure she dropped at her personal canvases. That mixture stayed with him. Once they lastly met in particular person in 2023, at a present curated by their mutual buddy Chris Martin at Anton Kern Gallery in New York, he invited her to take part within the exhibition shortly after their first dialog.
“Upside Down Zebra,” quickly closing, ran from June 2025 by way of the top of Could 2026 and was the biggest exhibition in The Watermill Heart’s historical past, filling six indoor galleries with practically one thousand works from the Rhoda Kellogg Worldwide Baby Artwork Assortment alongside new and present work by greater than forty modern artists. The establishment, based by Robert Wilson and some of the revered websites for experimental follow within the nation, drew members together with Carroll Dunham, Christopher Wool, Richard Tuttle, Katherine Bernhardt, and Ugo Rondinone.
Lavie’s work discovered their place in that firm with out issue. Her giant dots and circles, saturated and buoyant towards white grounds, have been the through-line of her follow for greater than a decade, and the context of “Upside Down Zebra” suited them with precision: right here was work that had all the time operated on the identical frequency as the kids’s drawings surrounding it, sharing their directness and bodily confidence whereas carrying the total weight of a educated and rigorous studio follow. The present made seen one thing that had all the time been true of Lavie’s work: that the liberty in them was not a place to begin however an achievement.
That very same season she organized and introduced “Confessional Flowers,” a solo at Satellite tv for pc Artwork Gallery in New York, based by artist and gallerist Brian Andrew Whiteley. The present was completely hers: conceived, curated, and put in by Lavie, bringing work, sculptural works, and set up collectively right into a unified surroundings reasonably than a grouping of particular person objects. The 2 exhibitions operating in the identical yr—one an invite into some of the prestigious institutional surveys of American modern artwork, the opposite a completely self-directed solo within the coronary heart of the New York unbiased scene—gave a transparent image of the place Lavie stands.
She got here to New York with a physique of labor constructed steadily and significantly throughout practically a decade. Born in Haifa in 1992 and raised between Zurich and London, she returned to Israel in 2016 and accomplished an MFA with honors at Bezalel Academy of Artwork and Design, the nation’s foremost establishment for high-quality artwork. The work she made throughout these years was already discovering its viewers. A yr later she moved into the Central Bus Station, one in every of Tel Aviv’s most loaded and peculiar architectural environments, for a two-month residency that produced “Let There Be Glitter.” The present occupied a whole fifth-floor gallery area, and Lavie stuffed it with giant unstretched white canvases hung and freestanding all through the room, every carrying her painted dots, traces, and arcs in daring acrylic coloration. The dimensions was whole: work wrapped columns, lined corridors, and spilled into public-facing home windows seen from the station’s inside mall under. A sculptural work sat on the ground on the heart, and the opening included a reside efficiency. The exhibition was reviewed at size by Portfolio Journal and documented by photographer Youval Hai. It closed days after opening, shut down by the COVID-19 pandemic. Lavie selected to not deal with this as a loss.
Two years later she introduced “My Fortunate Coronary heart” on the Magasin III Jaffa Bookstore Vitrine, the Israeli outpost of the internationally acknowledged Stockholm establishment Magasin III, one in every of Scandinavia’s most revered modern artwork museums. The dimensions right here was the alternative of the Central Bus Station: a vitrine, a single compressed window show demanding that the work function at shut vary and maintain a viewer passing by on the road. Lavie’s response was characteristically exact, a concentrated association of her signature kinds that turned the constraint of the format into an argument for the facility of small issues to open giant areas. The presentation ran concurrently with a solo exhibition by Polly Apfelbaum, some of the vital American artists working with coloration, sample, and abstraction. Taken collectively, the 2 exhibits reveal the total vary of Lavie’s ambition: she may fill a warehouse and he or she may fill a vitrine, and in each instances the work was completely itself.
By 2023 she had begun curating. “Dream Gurlz” at Binyamin Gallery in Tel Aviv’s Kiryat HaMelacha arts district was a present with a declared place and a selected goal. The exhibition assertion put it plainly: the present stemmed from a want to develop the area and legitimacy accessible within the native artwork scene for work whose foremost goal is aesthetic, one thing typically thought of trivial in Israel. Lavie assembled a world roster of eight artists from Israel, Germany, and america, together with Karen Dolev, Jessica Petrilak, Shani Pri-Nes, Clara Kaiser, Lee Raz, Shahaf Shua, and Alexandra Zuckerman, united by their shared funding within the aesthetic, the female, the colourful, and the handmade. The exhibition created what its assertion described as direct bridges between worldwide artists with related objectives, in a longtime gallery area in Tel Aviv. Lavie was not asking for permission to make joyful work. She was putting it within the heart of the room and alluring the artwork world to catch up.
Ohad Shaaltiel, then Pedagogic Director of the Tel Aviv Museum of Artwork, noticed in that exhibition and in Lavie’s follow precisely what he wanted for a year-long youngsters’s workshop program he was creating on the museum. He invited her to design and lead it. The connection was not coincidental: the qualities that made her compelling to Shaaltiel had been the identical ones that had caught Belott’s consideration on Instagram years earlier and would ultimately carry her to Water Mill.
For Lavie, working with youngsters has by no means been separate from what she does within the studio. She has been a instructor since 2017, when she obtained the Amitei Bezalel Rothschild Basis Scholarship whereas learning for her MFA. Since then, she has taught in faculties, museums, and preschools in Israel and america, bringing her personal creative practices of free-spirited playfulness into early childhood and elementary schooling. She is a really experimental instructor, preferring the atelierista mannequin of permitting youngsters to discover artwork supplies in an open-ended means with out a particular product in thoughts. Each her educating and her artwork follow proceed from the identical beliefs: that coloration communicates on to the physique, that making generally is a type of real information, and that there isn’t any significant hierarchy between the instincts of a kid with a brush and the intentions of a educated artist. The work she makes are makes an attempt to shut that distance. The kids’s workshops are makes an attempt to shut it from the opposite course.
She is now primarily based in New York, publishing poetry and fiction in Hobart, educating youngsters, and making work. The circles preserve showing. They don’t seem to be going anyplace.
