Oil and acrylic, 120 x 140 cm.
Oil and acrylic, 120 x 140 cm.
Thirty Triangles. Gouache, 46 x 61 cm. (18″ x 24″)
שלושים משולשים, 2017. גואש 46 * 61
Inspired by the “Crazy Quilts” traditionally made by African American women.
The composition, with its two, not quite balanced halves and with arrows pointing all over, defies all logic. But it works.
Seven Persian Flasks, 2015. Gouache and ink on Arches paper, 46 x 61 cm.
שבעה בקבוקים פרסיים, 2015. גואש ודיו על נייר 46 * 61 ס”מ
This series has been most interesting to create. As I wrote earlier, each painting begins with a chaotic splash of ink. I am often content with it at this stage, as is. But Jackson Pollack passed away long ago. Therefor I work hard to bring this joyful mess, into a polite conversation with the billowing curtains of pattern.
These Oriental bottles confuse and entertain the eye. Sometimes they appear in the painting – and sometimes are camouflaged, playing hide and seek.
And I wonder… does this series, with its Middle Eastern name and imagery, have any deeper political and cultural significance?
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.
And I saw a cypress tree, standing firm in a field. Facing the sun, hot desert winds and frost. Facing off the storm.
The cypress had doubled over, and bowed down to the weeds, without breaking.
And now, that cypress stands up straight up facing the sea, and is still green and towering….
If only I could learn the path of that single tree….
From the upbeat song Brosh / Cypress. Lyrics by Ehud Manor, melody Ariel Zilber.
This happy song ends however with self doubt,
And I am like an infant, broken and incapable. Unable to stand firm, facing the sun, the desert winds and frost. Unable to face the storm. La la la.
This series reflects the battle between my hidden, wild and naughty exuberance, and my mask of decorum. While painting, I felt as if my own, real life value conflicts, were right at the surface. I enhanced my true confusion, by repeatedly reversing the sense of order and disorder, and of positive and negative images within each painting.
Tall cypress trees and falling leaves or else tall ladders appear in all paintings. Are they connecting Heaven and Earth? Or perhaps connecting body and soul? Balancing freedom with obligation? Symbols of mortality and the afterlife? Self-discipline and commitment?
16 Works in gouache over pencil, pastel and ink, on clay coated wooden panels. 30×30 30×40 and 40×50 cm. Painted in spring and summer 2014.
She sensed correctly whom to pick. Ehud left his coffee, and brought it to her with his modest smile.