 | |
| nscious and unconscious levels. Thus, a visual harmony is created, and just as musical harmony can be pleasing to the ear, here too, the visual harmony is pleasing to the eye.
Dr. Nurit Cederbaum
... |
|
 | |
| minine freedom from space – and defines situations where time has no significance. Female power is represented in movement that is frozen in space and stands above time.
Dr. Nurit Yakobs Cederbaum... |
|
 | |
| ectual world, and the deep connection to life and humanity, or, in Auguste Rodin's words: "The main thing is to be moved, to love, to hope, to tremble, to live."
Dr. Nurit Cederbaum
... |
|
 | |
| n the aquarium of reality, completely man-fabricated, with partial awareness and lack of ability to change the current situation in which we (and the fish) find ourselves.
Dr. Galia Duchin Arieli
... |
|
 | |
| ourney in which the work learns to settle and position itself, as does the personal spirit, the artist's soul, present as a form of theater in the courtyards of the soul.
Dr. Nurit Cederbaum
... |
|
 | |
| ll and the branch, even as the off-center composition commands our attention. An image of a delicate white flower against a Japanese pink background is unsurpassed in beauty.
Batsheva Goldman-Ida
... |
|
 | |
| a form of home and property. Kadari combines familiar images, such as home, and her personal point of view. As a painter she expresses herself in her home, and art is her home.
Dr. Nurit Cederbaum... |
|
 | |
| be full of creativity and creative work. As Allan Watts one wrote: "The only way to make sense out of change is to plunge into it, move with it, and join the dance."
Dr. Anat Ein Gedi
... |
|
 | |
| complementary colors such as blue and orange or yellow and purple. The use of complementary colors increases their volume, as well as the aesthetic experience.
Dr. Dalia Hakker-Orion, January 2023... |
|
 | |
| minations. She presents a multi-layer, multi-shaded reality that includes opaque and transparent, close and far, truth and imagination – like a journey in a fairy-tale country.
Dr Nurit Cederboum
... |
|
 | |
| re an extraordinarily complex 'Simple Story.'"
(1) Quote from "Shakadeti," (I Labored), Ilana Zimhony's poetry book "A Bird on a Roof."
Dr. Nurit Zederboim
... |
|
 | |
| s, the literal meaning is clear, evident and familiar – landscapes, animals, trees, all richly colorful, drawn by a confident hand. As for the deeper meaning, I have tried to offer several insights.
... |
|
 | |
| and artist who chose, this time, not to employ color and oil paints – takes the viewer to a loaded, emotional expedition, combining her heart's wishes with mind and emotion.
Dr. Nurit Cederbaum... |
|
 | |
| vents create a memory instilled with joy, and all this solidifies a present based on the past as remembered, and serving the future as a reminder for the next generations.
Dr. Nurit Tzederboim
... |
|
 | |
| y. The light emerging from her works is absorbed in the serene joy of life that radiates from the paintings, encompassing the viewer, taking him to a colorful, aesthetic journey.
Hana Barak Engel
... |
|
 | |
| by the dance of the paintbrush, charging the works with their power. As Delacroix famously said: “the first quality of a painting – is that it is a celebration for the eyes.”
dr. Nurit Cederbuim
... |
|
 | |
| ity and a lust for life, also form borders and separations on the canvas, thus relating the story of a soul constructed of different parts, merging into one, complete, unit.
dr. Nurit Cederbuim
... |
|
 | |
| fic, yet everlasting, experience. When all the experienced meeting points pass through the filter of the digital lenses, locations, scenes, people moments, nature and humans blend into one long story.... |
|
 | |
| imagination, a subjective interpretation based on reality, but departing from it. Still, all these, while including a world of vision and imagination, are physical, material, visual, sensual objects.... |
|
 | |
| e colors are overflowing and romping, the shapes blend and the painting is created. While these works do not contain the traditional smell of paints, they do include the scent and spirit of the times.... |
|
 | |
| n motion, they seem to be bypassers soon to depart the canvass and continue on their way. Simultaneously, the brush carries out its wild dance in wide movements, gentle and color-filled brush strokes.... |
|
 | |
| Her works are characterized by combination of contrasts: light and dark, minimalistic and full of details, which forms joyful compositions, with textural and chromatic richness. In several occasions ... |
|
 | |
| ses and creates new worlds without using tangible paint brush and paint. The quality of the creations which are distinguished in their reliability, allow more operating spaces and freedom of action. ... |
|
 | |
| static with figures extending their hands upward, body organs not necessarily in their anatomical order, and states as they are viewed externally, versus situations depicting the inner states of mind.... |
|
 | |
| acham, using her own signs – marks, colors, shape and matter, composition – presents us with the sight of her cities, and thereby prompts the spectator to ask what the city really is, under the cover.... |
|
 | |
| ular lines. The sense of occurrence and movements is enhanced by covering the entire surface "all overness". Three dimensional perspective and sense of multiple layers are achieved by using ... |
|
 | |
| ing it in a spiritual world of reflection. We have learnt by now that being and life comprise contradictions, which can spur growth, just as the frog may become a prince.
dr. Nurit Cederbuim.
... |
|
 | |
| r’ into an order with its own codes, and shows the beauty of the unformed, while allowing whatever comes to the surface (even when inspired by some reality) to just be.
dr. Nurit Cederbuim.
... |
|
 | |
| e eye, but we may delve deeper into the inner layers and learn about the message that lies in the medium and the meaning of the different shapes, which may double as symbols.
dr. Nurit Cederbuim.... |
|
 | |
| stic art. Technical knowledge, recognition of materials and development of subjects, accompany him in the artistic way unfolding before him. With diligence combined with experimentalism he advances to... |
|
 | |
| sage that El-Raz seeks to convey concerns persistence and tenacity in the political situation, through the protracted conflict, and pertains to the occupied territories. Relentlessly, systematically, ... |
|
 | |
| then casts in a new mold. He turns spirit into matter, shape into fantasy, and reality into an open, abundant source of inspiration, which can be changed, subverted and converted into something else.... |
|
 | |
| nd souvenirs from a physical, mental, lifetime journey. Memory, experience, emotion, place, and object combine together in thick brushstrokes and intense colors, exuding freedom as well as discipline.... |
|
 | |
| of her painting, the construction that is destruction, the coming apart that comes together again, the coarseness that is smoothened, the transparent and the dull, the fixed and the fluid. As in life.... |
|
 | |
| g is far from dead and still has its place. Even when painting engages in an unmistakable dialogue with reality, seeking to offer a photographic truth, it nevertheless retains its power as a painting.... |
|
 | |
| Friedman Silbermann explores nature; she draws on it, observing it, or rather recollecting it, to concoct the jam of colors and images on canvas, the very canvas that can, and will, take it all. |
|
 | |
| cco preserves its tradition and sells it to tourists as a product. As a man of the western world when you visit Morocco, all your physical and emotional senses get confused. Morocco is a sensual land.... |
|
 | |
| trend described as na?ve art.
Michal Kimhi’s corpus falls safely into this category and coincides with this trend, which retains its position as an essential element of the art scene across periods.... |
|
 | |
| all, goes the Hebrew idiom. Inspired by Yaffa Shabat’s corpus, we’d like to suggest that the paper can take it all and also have fun while at it; and once ready, the ensuing product is delightful too.... |
|
 | |
| nd Israel, spots where nature meets urbanity. She immortalizes-freezes these in photographs, and later draws on ‘photo sketch’ as a source for her own art, while laying out her own interpretive world.... |
|
 | |
| s comes together in a swirl of soft, incandescent, transparent and opaque colors, with ethereal images that merge in with color systems and seem to be randomly created from within and into themselves.... |
|
 | |
| ts story, reveals it to her while revealing itself, and thus becomes her own story. This story reflects joy. It probably emanates from joy, and may also give the artist some joy at the end of the day.... |
|
 | |
| ited intentionally, or the one etched in her memory. But the landscape which finally makes its way into her paintings is a physical-visual platform telling the story of her soul – the inner landscape.... |
|
 | |
| with something inside – I went inside, saw some interesting things and a whole world emerged… I wanted to show something which is deep within the flower. My grandson gave it a title – A Flower Womb.”... |
|
 | |
| es the heart” (as Gombrich said of Toscanini). In this journey of the mind guiding the heart guiding the hand, a whole world of colorful structural expression unfolds – a map of the soul, if you want.... |
|
 | |
| enetrates it. Together they form an expressive human chain that tells the story of a person and their universe – all through the works of an artist sculpting in photography.
Dr. Nurit Cederboum
... |
|
 | |
| inary, yet at the same time she also highlights those lines; if anything, it is a testament to Glazer's internal struggle, condemning the abuse of nature which is actually an abuse of man himself.... |
|
 | |
| hing, it may be more to do with the way the work is organized than by the artist's emotion on a given day, since expressiveness is in the work itself, not necessarily in the artist who created it.... |
|
 | |
| hears nothing. Yet through the silence something throbs, and gleams... [That’s] what makes the desert beautiful.” (The Little Prince) That is also what make Menucha Cohn’s body of work so beautiful.... |
|
 | |
| inting, to be displayed as some sort of bird's-eye view documented with brushstrokes, as a story of visual shapes and signs, telling us of Invisible Cities and Landscapes.
Dr. Nurit Cederboum
... |
|
 | |
| s, interprets, expands, changes, intensifies and reveals another piece of those overt things that also carry within them the invisible.
Artist’s website - www.amir-artfilm.de
Dr. Nurit Cederboum
... |
|
 | |
| ers. Give and bestow as best as you can. The fruits you are giving today will be trees tomorrow. Do not let this cycle stop.”
From the teachings of the Lubavitcher Rebbe
Rami Azzam, art director
... |
|
 | |
| the tangible objects in favor of pure and minimalist forms (line, surface, color); it seeks to touch upon the spiritual, the irrational, the mystical."
Rami Azzam,
curator and art director
... |
|
 | |
| to make a claim, or cast doubt. It is Immersed in the realms of personal expression and reluctant to take a decisive stand in the tangle of intra-painterly dialectics.
Curator: Varda Steinlauf
... |
|
 | |
| on to the roots: the warm sun, the bustling caf?s, the tank tops and shorts, the Greek influence on the music and the taverna culture--don't all these confirm us as Mediterraneans?
Ofer Blanc
... |
|
 | |
| world (and the center of the canvas), thus expressing an inner world; and the figures she chooses to portray become those who speak through her, while she speaks through them.
Dr. Nurit Cederboum
... |
|
 | |
| o be attributed to Tabakov, who gracefully and beautifully portrays contradictory situations of toil and hardship, making the viewer stand in awe and empathy at the same time.
Dr. Nurit Cederboum
... |
|
