I am honored to participate in this years Jerusalem Biennale – in the group show “A Sense of Space, A Sense of Place, curated by my talented colleague Mallory Serebrin. The show is in a unique location – a century old Armenian villa, that served for half a century as a school for deaf children. The exterior is magnificent. The interior – reminds me of my artwork! The work is a polydych, of four panels, called “Common Cypress”, the botanical name of the Mediterranean cypress. In Hebrew – ברוש מצוי Each panel is named buy a line from a song of the Israeli cannon, revealing a strong connection to this unique place.
בחמסין בקרה – מ”ברוש” של אהוד מנור ואריאל זילבר
באב אל ואד – מילים חיים גורי
נומה עמק ראץ תפארת מ”שיר העמק, מילים נתן אלטרמן
מארץ מרחקים מ”אל הציפור” מילים חיים נחמן ביאליק
Images from the Gallery Talk
Cypress Trees in Late Summer Fields 2015
Gouache over mixed media, on a koalin coated panel. 41 x 66 cm.
ברושים בשדות סוף הקיץ 2015
גואש מעל מדיות מעורבות, על לוחות המצופות בחימר לבן. 46 5* 66 ס”מ
Yellow is a tricky color. It is easy to paint monochromatic works in all greens, blues or reds. One simply mixes in small amounts of other colors to gain a wide pallet, of varying depths and intensities and pureness. There are also many and so very different pigments in those families to start from. Yet, after all of that messing and punching and kneading, these colors easily remain what we consider to be the families of greens, blues and reds.
Yellows are so much more sensitive! How do we create a “dark yellow”? After adding what miniscule amount of another color, does the “yellow” stop being yellow? Very little!
So, how much must I stray away from that Crayola crayon definition of Yellow, to create a vibrant painting, with sufficient contrasts?
Those of us living with our bone dry summers are familiar with this pallet. The wild grass turns to dusty yellow. The red roofs and dark cypresses are coated with fine yellow gray loess soil, carried in from the Sahara and Syrian Desert.
Yet our summer is not merely sun burnt. Delicacy can be found in the dried thistles. The rhythmic curvatures of the rolling hills and terraces reveal themselves. The sun casts yellow, and shadows in the hills reveal a lavender hue.
Cypresses in a Red Field, Gouache, Jan 2014
I completely forgot that I had painted this last January.
I must have been playing with my old positive/negative reversal toy, after giving that assignment to an art class.
עבודה נשכחה, מלפני שנה. גואש.
חזרתי לשחק בצעצוע היישן של פיטיב/נגטיב, אולי לאחר שנתתי את התרגיל הזה לתלמידים
When I hear the protest “But I don’t know how to draw!” I hand students scrap paper and scissors and tell them to cut simple stencils. That way we get past their childhood comparisons to the project of the kid sitting next to them in art class, and begin learning about painting!
The second secret is in the mess: To free the the class up for experimentation, I put on some crazy music, and tell them to to attack the page with paint, while moving with the rhythm. Working standing up, with the weaker hand helps too. Once that undercoat is happy and uninhibited, we begin to work with the stencils.
My students’ results are often better than my own work! I certainly learn a lot from them.