In her art, Hili Greenfeld connects fragments of private memory to cultural narratives in shrine-like installations. These installations consist of imitations of relics – objects that testify both to our desire to capture time through the objects that persist through it, and our inability to finally make peace with the change and decay that time brings. We can perceive and handle time only indirectly: by recalling memories, telling stories, performing rituals and keeping objects that bear traces of the past. She calls these installations ‘environments’ because they combine manipulated ready-mades, sculptures and paintings, creating a complex, integrated space. Though memories are elusive and private rather than concrete and public, these scenes reify personal memories and thus enable them to be shared
Like temples, these environments subtly guide the visitors' movements and pace. By combining and layering different materials – plaster, plastic, concrete, wood, metal, pigment, paint, manipulated ready-mades – the paintings and sculptures simulate the layers of time, evoking a tactile sense of the fragility of history. Some works are site-specific and perish over time. By recycling parts of one painting or installation in another one, the body of work as a whole partakes in a cycle of memory and cross-references, creating a labyrinth of remains.