Eve Livnat-Merzer, born in Paris, the daughter of the artist
Arieh Merzer.When the Nazis entered Paris the family managed
to escape from the Gestapo by a hair's breadth, thanks to the
resourcefulness of mother Esther, and to cross the border into
Switzerland after undergoing many trials and tribulations in
Provence. Eve, who was then a baby, grew up for a while with
a Christian woman who saved the members of the family from the
hardships they had to endure.
Eve made aliyah to Israel together with her family in 1945.
She showed an aptitude for art from a very early age and was
taught by her father, an artist and well-known worker in hand-hammered
copper. She studied and worked in the artists' quarter in Safed
with her father and with the artists Menachem Shemi and Mordechai
Levanon. From them she acquired a great love of art as well
as a wide range of techniques and drawing and painting skills.
In her youth she joined a learner's group in "Oranim"
under the tuition of Marcel Janco. She studied at the Teachers'
Training College in Tel Aviv and in 1970 graduated from the
Avni Institute; one of her teachers was the painter Yehezkel
Streichman. In 1968 she gave her first exhibition entitled "Ten
Past Eight," in which she showed her powerful collages
for the first time; these made a big impression on all who came
to look at her works. In 1972 she was awarded a grant by the
French government for further training in "Les Beaux Arts"
and in William Hyter's "L'Atelier 17." She spent some
time living and working in Paris. Amongst other things, she
specialized in etching and art printing. On her return to Israel,
she continued her studies at the Art Studies Circle in Tel Aviv
University. Eve is well-known for her distinctive aquarelles
which, for a long time, were devoted to scenes of Safed, and
in later years to other Israeli landscapes. These latter include
a series of aquarelles depicting the Dead Sea and Jerusalem,
and a series of aquarelles of the sea. Many of her early compositions
were of interior scenes, and "The Empty Chair" was
a recurrent motif in many of them.
Over the past few years Eve has widened her scope to include
assemblages, and also ecological sculptures which she is developing
with models which make use of reconstituted elements. She furthers
this aim also by a dialogue with flaura and fauna which, with
the help of a fertile imagination and more than a dash of humour,
plays an active role in conveying the artistic-cum-philosophical
message which is witty, sharp, and stunning.