Sculptures at sunset

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Art in between two Brutalist buildings at Ben-Gurion University of the Negev!

The light of the setting sun (see it in the tree?) silhouetted them nicely.

The BGU booklet Beyond the Classroom about the sculptures on campus offers this:

Three Fanfare Trumpeters and a Climber
Ofra Zimbalista
2014, cast aluminum, life-size figures
Three musicians scale the side of a building, representing a group  going in a single chosen direction.   On a nearby building, the W.A. Minkoff Senate Hall, an individual chooses to climb a new, previously unexplored peak. 

Click the photos if you'd like to see them bigger.
There are three other posts in the blog with more sculptures by the same Ofra Zimbalista z"l.
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(Linking to Our World Tuesday.  And T is for Trumpeters for ABC Wednesday.)

UPDATE March 2021: Campus sculptures explained in a short video from the university:
https://youtu.be/pSvG64edFws
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Music of the spheres?

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 Satellite Dish, 1999-2000, by Ofra Zimbalista at the Omer Open Museum.

We have seen two other blue people of this artist: one lady with a flute and one holding a perforated umbrella.
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A lonely blue flute player

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A lonely flute player on the big open lawn of the Open Museum in Omer Industrial Park.

We saw another very blue work by the late Ofra Zimbalista at Beilinson Medical Center.
Remember the bombastic interpretation of the symbolism of her colors that I quoted?

Behind her is one of many hi-tech companies on the campus and the sculpture by Ilan Averbuch called "Wheat in Berlin."

You'll be seeing other creations from the Open Museum collection in future posts.
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(Linking to Our World Tuesday.)
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Not much protection

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In the sculpture garden of Rabin (Beilinson) Medical Center, Petah Tikva.
Please enlarge the photo to enjoy the nice details.

Here are some (big) words of interpretation by Tami Katz-Freiman which appear at the late Ofra Zimbalista's website:

. . . a woman in drapings hovers in the air holding an umbrella with holes . . .

Existential anguish, shame, and misery sometimes dress up as pride and bravura (like the woman holding the umbrella with holes in it), and as in Hanoch Levin’s plays they are depicted with humor and a sense of acceptance of fate. The silent figures portray their tragic situation with a sarcastic muteness.

The sense of muteness and almost religious submission are augmented by the deep ultramarine blue and the gold that glints out here and there in various places. The reduction to blue and gold, colors which have a distinctively metaphysical, spiritual (Christian) context, with a cultural meaning that is rich in symbolism (Virgin Mary, the Evil Eye, New Age), abstracts the realism of the figures, unifies them into a kind of fantastic realism, and distances them from prosaic everyday existence, to a poetic-allegoric-symbolic existence.

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