I began this series of landscape paintings after returning from studying abroad. It was a double homecoming: a return to my childhood home, and to my earlier approach to painting. Once again, I was painting from observation after a hiatus of working solely from my head; simultaneously, I was re-rooting into the power of place after a period of wandering. Yet like all nostos, the return home involves change. This series is partially about refining my relationship to observation, discovering and defining its place within my art. These painting are an answer to the unique invitations offered by places, creating a personal pictorial language though a dialogue with the observed landscape.
The process of their creation is two pronged. Each painting begins with a premier coup, an immediate, one shot painting done in situ, in places that have played a part in my life. I work quickly so I cannot think or plan—waiting instead for the surprises that develop through an overwhelming contact with nature. In the next stage, I take the paintings indoors to my studio and observe them closely, treating each as a world in itself. Using a viewfinder, I narrow in on small areas, adjusting and readjusting the frame until I find a motif that feels complete. At that point, the painting is born. I then either isolate the new image, or repaint it on a different surface, further paring it down.
This process enables a dynamic oscillation between receptivity and response, action and reflection, construction and reduction, as the indoor and outdoor paintings feed and mold each other.
It's been a big month, with the ongoing Manofim arts festival underway in Jerusalem.
Studio of Her Own is taking part with an exhibition in homage to Zelda, the iconic Israeli Hasidic female poet. The exhibition is making a splash, with a full page review in Israel Today and a feature on the news last night (where you can see a great view of painting, "Eruptions," on display in the exhibition.