This series of works focuses on the processes of withdrawal and disintegration created in material. The process, which slowly digesting and disintegrating the objects in this series, gives them new colors and, at the same time, peels and exposes them. The withdrawal of the material’s layers allows the latent layers to rise to the surface and be revealed to the observer as a distortion of matter and shape. However, this process manifests itself in new textures, contours, patterns and colors as if they were a distorted mirror image of a familiar material reality.

At the center of the series are the withdrawal processes of pipes and buildings in Tel Aviv that I processed into reality on another level, that Enables magical realism. I found in the process of withdrawal of the pipes an aesthetic element that attracted me to build different compositions with the same shapes. The rhythm and movement created by the withdrawal and exfoliation processes in the buildings and pipes I painted gave them the momentum of life together with a brightly colored organic Deformation. The composition comes from photographs, (Snapshots), and from nature directly in a quick drawing.

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.

In some of my work, I tend to experiment with different classical materials combined with industrial materials that 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.

The work on the series involved distorting photographs and drawing from Life to arrive at an image of pictorial quality. The drawings and photographs were also a result of wanderings in Tel Aviv. The use of drawing and watercolor principles led to the processing of images in oil techniques.

As I watched the pipes, the electrical wires, the chains that were a kind of visual chaos, and yet I created a certain rhythm for my visual imagination, which helped me refine and reconnect the compositions in these paintings.