The show features a large site-specific installation created from wire mesh that spreads across the gallery floor, taking the form of a sculptural tapestry.

The work responds to the architectural environment, interacting with the walls and rising from the ground to shelter woven LED lights and scattered pompoms throughout it. The use of colored LED lights introduces a playful element while also highlighting the tension between the industrial and the organic, the ephemeral and the permanent, playing with the viewer’s perceptions.

The large mauve paint stain that takes over the walls introduces a new element into Treizman’s visual language, functioning as a pictorial gesture that expands in a chaotic yet controlled manner. It contrasts sharply with the geometric precision of the wire mesh pattern. The juxtaposition of these elements generates an immediate visual impact that invites the viewer to reconsider the limits of the exhibition space and the materials that shape it.

The work engages with the concepts of barriers and access, represented both physically and symbolically by the metal mesh and LED lights. The viewer becomes immersed in a composition that, while imposing restrictions evokes a sense of permeability. It presents a mesmerizing boundary that becomes penetrable through the viewer’s gaze.

Treizman’s work offers a critique of consumer society, repurposing discarded materials to create pieces that defy planned obsolescence. By removing readymade objects from their original context and transforming them, Treizman constructs an abstract narrative that both reveals and conceals their past stories. In a world where everything seems disposable, the artist invites us to rethink the value of what is discarded, demonstrating how these fragments can become a source of new experiences and ways of contemplation.