A few works stood out, namely Mazor Limor’s Bat Galim, Tzipi Ohel’s painting of trees and surrounds and the sculpture by Moshe Ferumin.

June 4, 2019 21:29
2 minute read.

Bat Galim by Mazor Limor . (photo credit: DANNY SHORKEND)

Israeli Painters and Sculptors Association, Haifa

The annual show at the Artists’ House in Haifa is a showcase of a great variety of paintings, photographs and sculptures. While there is no overriding theme being an amalgamation rather of an eclectic mixture ranging from realist to abstract works and including dabblers to the more serious.

A few works stood out, namely Mazor Limor’s Bat Galim, Tzipi Ohel’s painting of trees and surrounds and the sculpture by Moshe Ferumin. The first, technically very sound, captures a sense of the sea as blues, pale yellows and greens merge and flow in a kind of optical dance where fractals seem to evolve as the paint sweeps across the canvas. Water and in particular, its fascinating flowing motion, metaphorically may allude to the deluge of feelings – the shift from one extremity to the next; the soft, meditative “shoo” and humming sound that seems to allude to the subconscious realm or the autonomic system at work in the body behind the more obvious overt expressions of a person. Yet, the overall blue harmony implies that there is nothing too extreme, nothing that will deter one from sensing the beauty and vitality of the place and the alluring Mediterranean that surrounds the city and borders Israel.

Tzipi Ohel’s work adjacent is wildly expressive with surging yellows and bold outlines of trees. It appears to gesture to the sense of vitality of movement, of optimism and with the direct application of paint, yet a subtlety that motions toward a brighter, clearer future – one of harmony and inner peace. A less favorable perception might be that the exuberance is short-lived, that summer will give way to winter. Even the ground seems to be energized, the mud and dirt lifted by the bright palette as the trees take root and then rise heavenward to meet the blue sky. The application of paint is vigorous and confident and in that self-assured moment, the picture comes alive and “speaks.”

Moshe Ferumin’s wood sculpture with lighting attachment is well conceived and indeed, well crafted. An egg-shape is suspended within a hollowed-out piece of wood that forms an odd angular shape. The egg symbolizes generations and one might interpret the piece as a homage to the continuation of life. The angular wooden piece perhaps suggests an ominous encounter, but the light fitting counters that with a sense of order and intelligence. That is to say, it is the egg that contains the DNA, the set of instructions and information that is to be passed on from one generation to the next, the very design that renders a series of sequences to produce intelligent life in the first place. The aspects of the sculpture where there is but empty space, the spaces between forms as Henry Moore used to so describe, perhaps alludes to a certain metaphysical realm that can overcome the more base crudeness and sharpness of the wooden piece as a whole. In that jarring “contradiction” is a paradox: the simultaneous supreme and highly detailed aspect of nature versus the viciousness and cruelty of nature.

There were a few more memorable pieces, but just as contemporary culture is such that we scan images for but a brief flicker in time, so I did not give each work its due – but a rewarding experience, nevertheless. So have a look and you are sure to find your favorites that you may well dwell on visually and conceptually for some time.

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