About the Red LIne Project
Gazit is documenting serious ecological devastations at locations affected by climate change and man’s misuse of the environment. In these bleak landscapes, the Red Line creates a haunting image and metaphor for the blood vein of Mother Nature, alerting observers to the urgent need to remedy and protect our endangered environment. The vein is represented by a red 3D line, and the devastated landscapes are his large-scale canvas.
Gazit's Red Line Project connects the sinkholes of the Dead Sea in Israel, with melting glaciers in Alaska, the Great Salt Lake in Utah, and the Salton Sea in California. He is planning future installations along the Amazon River, the disappearing forests of the Sumatra and Borneo, the floating islands of garbage in the Oceans and many more.
Gazit is now approaching a new stage in his work. The Red Line is no longer only highlighting devastated locations, but is now highlighting areas where global warming has destroyed communities and habitats. Bringing awareness to people, who have been forced to leave behind all that they have, and start over somewhere new.
With the Red Line as a blood vein, Gazit is humanizing the universe, attempting to make it easier for people to understand the immensity and scale of the ecological disasters happening all over the world. He creates stunning images for people to gaze at, moving from and through their eyes, down to shake their hearts and rattle their souls.
Gazit is suffering from 'FuturePhobia' syndrome. If things continue the way they have been going, he believes the future awaiting the next generations will be very bleak. He believes that our ecosystems have lost their balance and there is chaos ahead of us. He is terrified that the world may already have come to the point of no return.
ABOUT DORON’S RED LINE PROJECT, BY PETER FRANK
“Doron Gazit draws the line not only in the sand, but in the water. And air. And he draws it not with a pencil, but with a package – a self-contained, 3-dimensional, bio-neutral tube traversing landscape space, landscape space to whose transformation he wants to bring our attention. Despite its urgency, Gazit’s art is one of play, and choreographed elegance, and expansive imagination. An artist and designer, Gazit is best known for inventing that floppy figure flapping in front of gas stations and donut shops. But commercialized whimsy is the least of the arrows in his quiver. Long before those giant, bendable cigarettes-with-arms began their dance along the highway Gazit was fretting over the physical condition of the world, exacerbated by the nearsighted politics being waged over it. Now he gives voice to his concerns.
As a longtime Californian, and as an Israeli, Gazit finds himself at the leading edge of the struggle against environmental degradation. His projects sewing miles-long bright-colored balloons – air tunnels, really – through lakes and forests, deserts and cities are proposed not just in aesthetic context, but in a social one. Like Christo, Gazit’s canvas is the troposphere, and mirrors, yet modifies, mankind’s presence there. Unlike Christo, the social aspect of Gazit’s efforts is not in the negotiations among humans towards an artist’s vision, but in the influence the artist’s vision might have on negotiations among humans.
The ‘Red Line’ Gazit introduces into Pasadena at the Armory Center for the Arts is not an extension of the Los Angeles subway, but an extension of the worldwide ecological crisis, specifically manifested in two places, the drought-beset San Joaquin Valley mere miles up the freeway and the equally fraught Dead Sea halfway around the world. These are the projects Gazit wants to realize soonest, stark lines laid across sere terrain as if rendered on maps. Gazit plans to take his Red Line next to the melting icebergs in Iceland and then further around the globe. In Pasadena he has realized his red trails snaking in and out of buildings and streets, a highwire microcosm of global rupture.”
Peter Frank, April 2015