Self Portrait with Triangles 2018

Gouache 35 x 51 cm

A small secret: I gave a color challenge to a new student, to create a colorful painting using just black and three different yellow. The goals were to explore the oxymoron of ”dark yellow”, and how so very much, can be expressed with so few resources.
I always begin teaching with that yellow challenge.then I did it myself. And made a very colorful , pretty work that did not satisfy me at all.

The day after the massacre in Pittsburg, I sat in my studio, struggling to focus on work.
Towards the end of the day, I pulled out this painting. In a fit of urgency, I painted myself over the pattern, first by scrubbing dirty water, then paint. First by memory, then with a mirror.

As always, my selfies contain some brutal honesty. We all need brutal introspection, as individuals, as collectives and as ideological camps.

But what I also discovered, was a way to combine seemingly conflicting art languages that appeal to me: Ornament and Expressionism.

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Rock Paper Scizzors

Rock Paper Scissors, May 30, 2018. India Ink 31 x 41 cm

אבן נייר מספריים. 30.5.2018. דיו 31 * 41

Making Sense of it All

Making Sense of it All Chanan Mazal @2017

Oil on canvas, 100 x 110 cm

כי האדם עץ השדה? דברים כ:יט
For is the tree of the field a man? Deuteronomy 20:19.

Using trees to portray human soul and destiny, is as old as art and psychology itself.

I choose particular species and shapes to symbolize my state of mind or big life questions. Trees may be steady or rebellious, wise or impetuous. mature or potential, spiritual or carnal, and Hebrew or universal.

Why this particular childlike tree shape?

Its fluffy, cloud like foliage sits top-heavy, upon the slender trunk with its graceful Gothic slouch. Well, that upper part obviously is about my/our air filled thoughts:
Head in the clouds. Spirituality for the masses. Fuzzy thinking.
All of that air sits upon a delicate, flexible trunk of decisiveness and actions.

I completed the painting while listening to online lectures about the psychological symbolism of Genesis. Symbols like The Creator carving meaning out of the primordial chaos and the Tree of Knowledge of Good and Evil – teach us so much about creating sense in our personal life path.

Those green serpentines of confusion and attention deficiency, were painted before listening to the lectures. After completion, visitors to my studio shouted, “Ah! That’s the serpent tempting Eve to eat from the fruit of self knowledge.”
Smart visitors.

My Work at the Jerusalem Biennale 2015

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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.

Brosh-Matzui-A2000

Hamsin

בחמסין בקרה – מ”ברוש” של אהוד מנור ואריאל זילבר

Bab-el-Wad900

באב אל ואד – מילים חיים גורי

Numa-Eretz900

נומה עמק ראץ תפארת מ”שיר העמק, מילים נתן אלטרמן

Me-eretz-Merhakim900

מארץ מרחקים מ”אל הציפור” מילים חיים נחמן ביאליק

Images from the Gallery Talk

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Curious Yellow

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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.

Studio Espionage

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A peek at my painting process. Early May, 2013.
Pencil and ink, then gouache, on 3 “Claybord” panels. (Wood, coated with white clay.) 30 x 135 cm.

Olive Grove #2 2013

Olive-Grove #2, 2013

מטע זיתים #2 2013, גואש

Gouache 36 x 51

I pulled this out of my drawing cabinet, to show various brush and layering techniques to the students in my Diving into Color workshop. And then decided that it merits scanning. Not bad, huh?

On the very first day of each 6 meeting workshop, we discover the joys of unexpected color combinations, and the hidden beauty of ‘ugly” colors, when used in tandem with just the right neighbors. Muds can be such an elixir of life or fascination. Here, muds and grays add to the strangeness of the olive grove, and raise visual questions for the viewer.

By the second lesson, we are already investigated working in layers. What happens when color upon color are built up, leaving little glimpses to the shade partly hidden below?

Aah. I would love to teach a week long workshop in a vacation setting. Maybe in some old European farm. I get as much pleasure from seeing students eyes light up and think, “I CREATED THAT???!!!” as I get from painting myself.