The attempt to ask the artist to analyze his reason and motives for being an artist, his raison d'etre, is futile, as the whys and wherefores of creative art are in a process of perpetual change, similar to the sunset.
This is also why it is somehow incorrect to explain and give a reason why I have chosen and am attracted to a certain subject and technique to express my feelings. The process of change emanating from the depth of my inner being and influenced by external experience, stimulus, and associations is motivated by forces that are continuously and mutually interacting.
I try to make contact with the object of my interest; by touching the painting I am sucked into the rhythm and movement of my work. The traditional approach to my painting is vital to understanding the object I have chosen; during this process, I gain more insight into the subject as such. Relying on my drawings and snapshots I am guided by my memory and imagination.
Working simultaneously in different formats, I start my painting with a kind of aggression, giving way to equal treatment of form and material. I later return to them employing a more specific and softer approach, a process that gives the image a more open and realistic look.
I am profoundly fascinated by the medium of color, presenting its rich diversity, its ever-changing gamut of color hues. Just as the orchestration of a musical work is integral to its form, content, and mood, so is the color in my paintings integral to its special meaning within the context of my work.
My collaborative work with Viennese artist Ernst Fuchs revealed to me the full range of bright, shimmering colors that resulted from mixed oil-glazed techniques with tempera.
My painting (landscape for example) does not require me to go outside like the English painter Constable, I feel closer to painter David Friedrich for which time outside was not important but everything was embedded in some kind of immanence. In an attempt to introduce some elements of abstraction into the landscape, I paint from the background to the front, which means that the hardest contours come at the end, so the method is based on the progress of colors from bright to dark.
The process of withdrawal and merging between different natural and artificial materials stimulates my imagination to produce mixed techniques so that the subject, form, and material blend together and form a different reality on the canvas.
Tonality is a complex thing. My painting is characterized by a very striking intensity of bright color that has diluted, partially opaque layers, creating a space between colors and sometimes revealing a certain amount of total surface colors such as that of Gauguin and Rousseau.
The quality of the sometimes dazzling local (Israeli) light affects the way I work in the studio. There is a sharpness of color on the one hand and on the other a tonality that is influenced by the warm temperature around. If I lived in Scandinavia my spectrum might have been more affected by the coolness of the place.
The photograph for me is an object that stands in its own right, for the moment I start using it, it begins to be destroyed. I am not in conflict with the photo but rather embrace it and associate it with myself.
In some of my work, I tend to experiment with different classical and industrial materials which sometimes lead me to use authentic photographs that show certain human states of existence, that help me internalize the physicality of what is happening in a painting.
In my works, the biographical journey around images often exists as starting points for the thematic construction of works, the idea of love, different identities and the process of growing up and aging.