Oil on canvas, 55x70 cm, 2017
A few weeks ago I changed all the lights in my (rented) apartment. It used to be an office (lawyers), and then I moved in and the office moved out, but not entirely: there was an office ceiling with neon lights and not-so-pretty panels. On top of it, those neon lights strated to flicker and I had to remove most of them. There was simply not enough light.
Until recently, that is.
This is then and now:
Until recently, that is.
This is then and now:
As you can see, this is enough to work with. Enough of waking up in the morning and finding out that I did something terrible with the colors last night. ---
Crane, oil and scratching on panel, 38 cm, 2018
The light playing its special effects in the world around me usually stops me in my tracks. A dark corridor permeated by soft afternoon light can bring me to tears, as was the case with the abandoned villa in Italy in the image on top of the post. I found out that the way I treat light in my painting is typical, full of feeling and awe.
In the work right above, I used the effect of light of the full moon with cloudy skies to enhance a dramatic feeling.
Forest, oil on canvas, 81x170 cm, 2013
Nature creates a rich light performance with foliage. Below some other examples.
Khayat Orchard, oil on canvas, 25x25 cm, 2016
Yard in Pennsylvania, markers on paper, 17x25 cm, 2017
Here, I used negative forms and turned the darkness into light by painfully scratching away paint.
Horsemen of the Apocalypse, oil and scratching on plywood, 53x73 cm, 2018
Khayat Orchard and Cat of the Imagination, oil and scratching on panel, 37 cm, 2018
Artificial light makes weird colors at night.
The Gate, oil on canvas, 50x70 cm, 2017
Interiors have a softened quality, indirect light usually coming from the side. It's very sunny outside.
Eyal, watercolor, 28x20 cm, 2018
I started painting this crane in bright daylight and somehow these negative forms emerged.
Crane, watercolor, 27x16 cm, 2018
Drenched in blinding mediterranean summer sun:
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