This body of work expands upon my earlier investigations into power-relations, gender roles, and the nature of visuality. Allusions to the history of art and references to film abound in both series, with each drawing functioning as a single frame within a larger narrative. As Nuit Banai states in her catalogue essay, Staging Spectatorship, “Cnaani invites the viewer to approach the ensuing vignettes as a meditation on the relationship between art production and visual consumption, making and owning, desiring and collecting, and the force fields of power that are rooted within them.”

“Two Dimensional Days” examines the confused relationship between subjects and objects, through a progression of episodes in the life of the series’ protagonist (an artist). Various art world figures – curators, dealers, and collectors – are depicted, in somewhat ambiguous spaces, alongside the art objects they covet. By flattening everything into two dimensions, Cnaani creates a claustrophobic social setting and a sense of tension, which is evidenced by the apparent detachment of individual figures."