Avraham Eilat
Fear of What is Suddenly Too Late

In Avraham Eilat’s drawings, we constantly see the same schematic image of a man. This figure, which is wandering from one picture to the other, has no gender, ethnic or racial signs. The labour movements can be assumed that the pictogram references to the social. In fact, it is the man who cannot exist without work. Consequently, the labour movements rather refer to the existential. In these drawings, we often see that the artist applied the animation principle, simultaneously depicting all the stages of the figure to depict its movement. 

The video animation of one of these drawings became the base of “The Fear of What is Suddenly Too Late” installation. The artist has built the installation having used the example of Mastaba’s tomb pre-pyramid structure. On its inner walls, which also serve as screens we see Egyptian murals, which seem to be revived.

What was the fear that Eilat mentions in the title of his work? What was the fear that kept ancient Egyptians in motion? Like other traditional societies, the Egyptian society was also deeply religious. The fundament of their belief was the natural imagination of death. From common Egyptian to Pharaoh, they all believed that the death is not the end but the start of a new life. Thus, their biggest fear was welcoming death suddenly and unprepared. That is why their whole life was passing in the duty of preparations for death. The rituals connected with the death, body sealing practices, the supplies necessary for them and the scenes depicting the executors of the practices, which Egyptian frescoes are full of, are the confirmation of their belief in immortality and life after death.

The confirmation of that faith are especially the tombs, created by artisans and builders as a result of decades-long work. This work is done for immortality in the virtual sense, but in fact, made for the memory, put everyone into the motion. Crawling, kneeled or on the throne, obeying each other, or commanding everyone, each of them is subjected to that directive. “The Fear of What is suddenly Too Late” coming into them to constantly invigorate the cult of Anubis, the one who created the ritual and was supervising its execution.

But it has already been mentioned that in Eilat’s drawings the human does not have any national identity. Through the Egyptian, the artist refers to the trans-historical and trans-passing layers of human society’s life in general and vital activities of men․

Nazareth Karoyan