Avissar’s practice lies between object-making and performance, using sculpture, installation and video as main tools for uncovering the work’s flesh. Avissar works in an existential state of nomadism that is key to his practice of creating unfixed environments and situations of temporariness. Avissar collects and accumulates objects, only to recycle them. This constitutes a relation between materials and movement, as he dismantles and assembles every work to its ingredients, rearranging it in intense, colorful compositions. This so-called recycling of artworks is a never-ending process of layering one work on another, where every work becomes raw material that never expires.
Avissar’s sculptures and installations are greatly dependent on the exhibition space, as they become an integral part of its architecture. Video documentation is an essential element in his work. With time, self-documentation became video performance, a medium Avissar employs to activate and animate his works. Both the videos and the installations do not offer concrete narrative and serve as spaces for action, perhaps best defined as “action environments”.