The concrete wall, still exhibited as a whole unit, is there to separate the fragments on each side of it: both those broken from within and those broken from without. The chaos exhibited on the different canvases represents an anthology of repressed and forgotten memories of whole tools that were removed from their natural environment. Halak’s metaphors, referred to by Linda Nochlin as “fragments, ruins and mutilation echo the mourning for past grandeur as a whole, which can only be revisited through its remains amidst modernity”1.0 Those fragments beckon us to descend to the saturated earth and observe the fragmented tools – those cracks in our lives.
Halak attempts to cope with the absurdity of what he sees against the wall while expressing his yearning for unity. In a world created out of fragments and the inherent contradiction that spumes forth through the invisible cracks in the concrete wall, Halak suggests correcting a point of view — one that makes meeting with a transparent and imperfect past more feasible.
1 Nochlin, Linda, (2001), The Body in Pieces: The Fragments as a Metaphor of Modernity, Thames and Hudson