Assulin (born 1981) lives and works in Ofakim.
He graduated from the art department at Bezalel Academy of Art and Design in Jerusalem and a master graduated of the Advanced Studies Program at Bezalel. Eyal won the Young Artist prize in 2014 and the Artist in the community Award for 2010-2014 (the only artist who won it for four consecutive years) for his work with local communities in Ofakim and the Bedouin city Rahat and the "creativity encouragement prize" by the ministry of culture in 2017. His work has been shown at Museums and galleries in the country and around the world. Among them: the Tel Aviv Museum, Petah Tikva Museum, Hifa museum , Ashdod Museum, Negev Museum, Center for Contemporary Art NIMAC Nicosia, , Beelden Aan Zee museum - Netherlands and the Poznan mediation biennale . Eyal's works are in various art collections Among them: the Tel Aviv Museum, Museum of Petah Tikva, Israel Center for Digital Art, Museum of the Negev in Beer Sheva , Haifa Museum of Art and the Beelden Aan Zee museum, Poznan Mediation Biennale and the CACT museum Switzerland.
Eyal Assulin deals with masculinity that comes from the working class. With the first meeting with his work we will encounter tools that are being used for constructions works, plumbing and building. Eyal than turns them into a living machines that are driven to perform pointless repetitive actions. These creatures are threatening but basically helpless. His visual language explores the culture of prosperity with reference to global socio-economic aspects. His works engage with Eastern culture, featuring a matrix of historical, gender, and artistic status symbols. These are presented in a forthright manner that parodies the bulimic impulse of contemporary consumerism. Assulin expresses a masculine aesthetic outcry reflecting the culture of over-consumption and presenting images that emphasize the perpetual dichotomy between hard labor and abundance. The spectacle of power is presented to the viewer as a potential that can be fulfilled. Assulin criticizes the dominant culture by isolating relevant symbolic elements from our cultural world. He presents the extroverted male "tough" ("ars" in Hebrew slang), representing the aesthetics of Moroccan culture, as a kind of visual contrast to the history of Israeli art, based on Western cultures. The gilt "Hai" and the dominant black color appear in his works as an expression of conspicuous wealth and concealed poverty, the manual labor forced on North African immigrants in Israel of the 1950s. The black color enhances the sense of visual abundance, as if symbolizing the idea of "black gold" as a critique of the politicization of wealth in the relations between East and West.