Dr. Narov brings the depths of his journey with his patients into his art, touching upon the delicate yet powerful, amorphous essence of the inner world within every person. His works resonate with the soul, emotions, images, subconscious, and imagination, reflecting the infinite variety of the human cosmos. Narov’s role is to decipher, heal, and provide meaning to this rich inner world. The power of his paintings lies in the delicate layers he masterfully weaves with meticulous pointillism. Textures converge in stormy clouds of the soul, both burning and shimmering, yet balanced loftily despite the chaotic visual quality dominating the imagery. The vibrant array of colors captures the viewer’s gaze with a harmonious contrast reminiscent of nature’s paradoxes, embodying the essence of human existence.

David Narov’s paintings are polycentric, inviting viewers to explore them from different angles, each revealing a unique subject and narrative. Every new perspective unfolds a different story and experiential conclusion, all without contradicting the impressions evoked by viewing the same piece from another angle. This multifaceted quality mirrors human truth: people are multifaceted beings. Some aspects of a person are known from one perspective, while others are seen from another. Yet, there are always angles that remain unknown, perhaps even to the person themselves. This characteristic of Dr. Narov’s work allows for varied interpretations and possibilities, offering an unexpected emotional richness emanating from their multidimensional content.

Dr. Narov’s artistic language is deeply personal. Every artist has their distinct lines, colors, and materials through which they document the echoes they perceive. In seeking expression through movement, words, and materials, each artist weaves a unique communicative experience. Amid the diversity of the artistic world, universal and existential themes emerge that can be understood through our shared humanity. Empathy and insight draw the viewer closer, as the imagery stimulates connections to the visual narratives and the individual truths they evoke. David Narov’s works explore the loftier aspects of human experience, bringing forth images from the depths of the imagination and soul. These are presented as an inner mirror, reflecting a universe that operates within each of us and requires continual rediscovery.

Exhibition Curators: Dr. Galia Duchin Arieli and Michali Adler

Photography: Dr. David Narov

Interviewed and Edited: Yoel Emet – Member of the Academic Sector Association of Journalists

© All Rights Reserved

Mika Hadar has been involved with art since she was eighteen and has studied at art institutions in London and Italy. The sources of her inspiration stem primarily from her upbringing. Her grandfather on her father's side was a Hassidic healer, her father could predict events before they happened, and her mother was a storyteller. 

Childhood events instilled in Mika Hadar a realization and understanding that the origins of knowledge are hidden and that there are unseen powers in the human heart and soul. When she was nineteen, she changed her first name from 'Minna' to 'Mika', and thus, with a single word, changed both her identity and calling.

The works Mika Hadar has chosen to display are a quest researching the 'pilgrim of the soul'. The photographs are revelations inspired by observing natural phenomena through a photographer's lens; she probes what is hidden from the eye with repeated and revelational observation. Her images of natural views express universality, introversion with extroversion, and monochromatism with vivid colours. The differences trigger a comparison between the exhibits and the levels of intensity the images project. Even the specific identity of flowering and vegetation disappears in favour of a new understanding and expression revealed through a deeper contemplation of a subject that requires deciphering. The subject, which is the research of the seemingly 'obvious', invites the observer to discover what is inherent in it and needs a second and closer look to experience an additional truth encoded in the abundance of forms created by nature

 Mika Hadar is artistically influenced by the Impressionist movement and its adherence to documenting the moment by the motions and fluctuations of light in which a scene was painted. She has also been influenced by the art movement that advocated monochromatic painting, processing the nuances of the secondary colors of various objects as the goal of expression. Contrary to the expressionist and abstract movements that did not set any boundaries related to this subject. Her diverse occupations and her natural way of observing the phenomena she has encountered have made her realize that the essence inherent in most subjects exists in the finer layers and the way they intertwine rather than in the outer shell of the experience

Therefore, a dialogue exists in the displayed works, with inherently monochromatic objects whose strength lies in their complex subtlety. In experiencing proximity to them, the view they offer loses its concrete form and yields a new, enigmatic appearance, like views of an unknown planet and worlds that neighbor our own – hidden from the eye that examines them with a conventional gaze.

Gender characterization exists in the works. They convey femininity, and embryonic qualities, hidden layer upon hidden layer, and the enigmatic secret of the feminine. They are a specific representation of a reality multilayered within an infinite fractal, emotional, and developmental levels. These require the gentle touch of understanding and empathy for the hidden information, the visibility which tempts and invites us to express ourselves in the way of the Tao. The Tao postulates that when an individual touches an object or an idea, they experience themselves rather than the object or idea.

Mika Hadar's spectacular photographs, accompanied by short poems, and texts, demonstrate to the observer the possibility of passing into a new dimension of observation in a vanishing world made visible in the way the artist experienced it in her moments of vision and creation.

Exhibition Curators: Dr Galia Duchin Arieli and Michali Adler

Interviewed, written and edited by: Yoel Emet – A member of the Academic Sector Association of Journalists in Israel © All Rights Reserved

During August and early September 2022, the Artists House in Tel Aviv hosted an exhibition of works by veteran Jerusalemite artist, Liat Polotsky.  The exhibition is showcasing several series of paintings, including some that deal with global warming, the disasters this phenomenon may well cause, as a message, and documentation of them in retrospect.

The oil painted works portray feelings of loss, finality, and a loss of control over what is happening in our world, as projected from personal experience. At the age of six, Liat Polotsky experienced the disintegration of her nuclear family because of its polarized views. A mother who had turned her back on religion, and a father who was a born-again religious man. Subsequently, her father severed contact with his non-religious family, including his daughter, Liat Polotsky. These familial circumstances combined to intensify her curiosity about the processes of life, growth, and the seeds of inevitable end those processes contain. All elements that serve as the foundation of her developing, exploratory art.

The artist's style leans to a refined and transcendent abstract – touching on the limits of cognition, seeking the limits of knowledge and experience. The light is much like the flame, illuminating, but also consuming and destroying. This polarity expresses the duality that exists in the experience of life and creation, a duality that is etched into the artist's identity. External impressions, landscapes and events, are processed and experience a metamorphosis – they turn into a message and a call to observe; to understand and to save. The influence of a variety of art movements, diverse cultures and rich experiences, is clearly evident in Liat Polotsky's work – from Jewish Kabbalah to Japanese culture, from the sun washed Israeli landscape, to nights in the Brazilian savannah illuminated by fire. Each image is a reflecting of an internal experience, written by the artist in the hidden script only the subconscious mind knows how to write.

The works reveal the stages of global warming, from lush green vistas, through a simmering ball, to a world grayer than ashes, all painted as miniatures, a medium in which the artist excels. They simulate a view from above – as if the viewer is looking through a telescope hovering in space. They observe us, we who live here on the surface of the planet, and project a feeling of emotionally detached study and observation. They document the gradual processes of extinction like a hidden scientist observing a culture received for testing.

The paintings offer a detached perspective that balances the works that burn with an inner heat and fire in which the artist is emotionally involved, suffering the pain of what is unfolding around her. A depiction of the fires burning in the Amazon Forest continues the message conveyed by the above-mentioned work and forces the viewer closer to the realization of the inevitable outcome of a conscious process of annihilation – a process that is failing to properly comprehend the inevitable end it will cause.

The works are a ‘shout of desperation’, calling on us all to see the devastation from up close, not just from the headlines of newspapers and through the prism of television broadcasts that create the illusion we are protected by distance from the ecological catastrophe taking place right before our eyes.

The series shown in the exhibition are experienced as a photo album that will be studied in the future when we and our descendants will watch the documentation of what preceded the extinction of nature on our world. They urge us to look at that futuristic album so we can act to prevent the actualization of what is described in it.

The work that seals Liat Polotsky's wake-up call is ‘Global Harmony’. In shades of green, from dark to light, she describes the stages of growth and fertility she yearns to see realized in all dimensions and plains – cultural, social, personal and ecological. Her prayers are for the cessation of material extinction and an end to alienation and the polarization of human society. And this is her legacy, her personal plea from the world and from all of us.

Exhibition Curator: Aryeh Berkowitz. Public Relations: Sigal Eyal. Photography: Yair Hovav.

Written and Edited by Yoel Emet – Member of the Academic Sector Association of Journalists. © All Rights Reserved. 

Her relationship with the men and women of Congo connected her with a primal authenticity unsaturated by any kind of hyper-technological atmosphere and untainted by the alienation of a competitive environment. The simplicity and splendor of local attire organically connected with the people's behavior and their treatment of each other. The tight-knit nature of local families led her to translate that ethos with sculptural admiration and in her own language. The works are an expression of a visual experience of everyday life and compliment the images she chose to sculpt. The height of the images makes them appear to be elevated. The robes with which Ms. Pinhas has wrapped the figures speak of an abstract splendor that bypasses naturalism and the images, and clearly demonstrate the artist's admiration of their human quality, which is not to be taken for granted.

The sculptures reflect an inner, hidden beauty. They do not betray the personality and distinction of the original models – most of the faces are intentionally featureless. The experience of observing them is distant and uninvolved, creating the feeling of encountering an unattainable moment that belongs only to the images of those the artist had herself met, cherished, and documented in her sculptures, capturing the moment of their experience for eternity.

The works are a physical documentation of a human landscape that belongs only to the people of Congo. Laura Pinhas has encoded the visceral experiences of her local encounters into the sculptures with a love and sensitivity perpetually captured in matter. The essence of the finesse and togetherness inherent in the works organically connects with the gallery's permanent sculpture exhibitions. They are a testament to the fact that the heart of a nearly forgotten world still beats in a continent once conquered by 'the white man' and than freed from subjugation to regain the right to establish again its own identity and the traditions that are its soul

Exhibition Curators: Shelly Rashkes and Nilly Witztum

Public Relations: Michal Sadan   Photography: Ran Erda

Interviewed and Edited: Yoel Emet – Member of the Association of Journalists

– the Academic Sector.

© All Rights Reserved

In this scenario, Mirit Ben-Nun’s independent exhibit stands out. The 66 Contemporary Pop Art pieces displayed here, produced in just a few months, are a creative endeavor to maintain a uniform style with varied statements. The figures depicted within are complete, realized and crystallized, even relaxed, but the road to this summit was long and arduous. Mirit Ben-Nun experienced formative breakups in her life, a primary one was losing her father at the age of 6 years old to an accident

The sudden and sever loss activated her ability to deal with stressful situations, create a world for herself, and the quest to define herself in the fatherless space in which she grew up in. Under this need and struggle to define her identity and uniqueness, the conditions were created to establish her individualized development for independence.

Mirit married young and became a mother at the age of 19 1/2, she was divorced by 20. At 23 she remarried and for the next 24 years of stable family and business lives she expressed her managerial abilities. Alongside, her creative spirit was palpable, initially subtle, doodling over thousands of pages up to the age of 32. Then the change took over. It was initiated when her sister showed up with a gift of canvases and acrylic paints. From there on she thought and acted as an autodidactic artist exploring possibilities for expression. 

In the beginning, the women she painted had no faces, eyes nor appendages; the paintings didn’t have a cohesive identity though emotionally they began to form shape, depth and color and express her innate essence. Picasso’s wealth of contour and Klimt’s art stacked up with soft and erotic images influenced and gradually connected her to Pop art.

This art form which replied to an expressive style without sinking into realism is rich with figures, strong colors, and contour lines. This style is reminiscent of comic book drawings plotting to create content and a defiant human image, with an existential state. It has become an instrument of expression in the modern and digital world that chooses images that express essence in a contemporary way. The Japanese artist, Kosma’s exhibit which is currently on display in Tel-Aviv Museum, is one of these style’s testimonies.

The art pieces which Mirit Ben-Nun created have an intense ornamental effect, A density of imageries illustrate the moment providing an iconic effect, a protected embryonic state within a bunch of signals indicating as aspirations and dreams; the images are immersed in all that. The women depicted in these paintings are not shown in a heroic or idyllic pose but in their natural, relaxed state, thoughtful, surprised and seductive as well.  They are wrapped in a halo of wealth and joy, in their presentation there is an authentic unassuming effect. Mirit Ben-Nun does not give up on her humor in drawing her women, and infuses a sense of comfort in their conditions, Gender and definition. These reflect Mirit’s identity formation, one that needs no additional explaining. An absolute self-acceptance is radiating from her designed images and those are the main achievement which she externalizes on the canvas

Faire face au fardeau émotionnel et au mystère de la mort subite liés à sa personnalité autodidacte et a conduit Haya Sellam dans un voyage de connexion avec ses origines berbères d'Afrique du Nord et plus tard vers d'autres sources ethniques de l'Extrême-Orient et finalement vers le judaïsme et la Kabbale.  Les mandalas qu'elle a créés documentent une combinaison de lettres, de signaux et de fréquences qui ont été décrits et exprimés dans les cultures passées dans lesquelles l'énigme de la vie et de la mort a été explorée.  Les mêmes cultures reliaient l'énergie de la vie et de la mort aux forces polaires vécues dans la réalité, masculines et féminines, internes et externes, visibles et cachées, explicites versus cryptées.  Les compréhensions obtenues ont été codées en lettres comme symboles énergétiques et en contours géométriques qui ont créé une harmonie en forme de cercle ou un symbole d'étoile de David et plus selon leurs origines dans les cultures explorées par l'artiste.

Dans cette réalité holographique où tout existe et est inclus dans tout, il existe des fréquences de guérison qui sont un langage énergétique véhiculé dans la méditation et en regardant les mandalas et leurs histoires, dont certaines sont minimisées et nécessitent de la persévérance et une observation attentive.  Cette observation permet l'indication du mandala et des textures nordiques dans les styles anciens et contient un monde de concepts et d'images du cosmos intérieur de l'homme et de la femme.  Par exemple – dans l'une des œuvres, la figure féminine est représentée comme un trou dans une serrure destinée à une clé, car il s'agit d'une porte contenant et ouvrant.  Les œuvres sont peintes à l'acrylique sur des toiles et des toiles de jute et sont peintes dans des couleurs et des nuances qui imitent l'original qui a créé le monde des images anciennes dans la collection diversifiée que l'artiste présente.

Parmi les œuvres, on peut voir l'influence de l'espace et du système solaire sur l'art antique qui cherchait dans tous les phénomènes naturels une explication et un soulagement à la brièveté de l'homme.  La nature et ses phénomènes qui étaient énigmatiques sont décrits comme des objets énergétiques et dégagent une puissante influence.  La façon de les contrôler était de les dessiner, de les documenter sur une carte symbolique et d'acquérir ainsi leur pouvoir de guérison et d'autonomisation.  Ces forces existent également en nous et pendant la visualisation méditative, une résonance et une réponse interne aux symboles et aux couleurs sont créées lorsqu'ils sont créés pour écouter de la musique et ainsi les fréquences de récupération et d'inclusion apparaissent qui naviguent de la ferme vers les rives de la guérison et de l'achèvement.  Les œuvres nécessitent un accompagnement que le directeur de la galerie et l'artiste se feront un plaisir de prodiguer à chacun des visiteurs.

La galerie d'art tribal, dirigée par le Dr Galia Duchin-Arieli, abrite des expositions du type actuellement présenté, consacrées à l'art qui ne se démarque pas.  Les œuvres qui y sont exposées ne sont pas « contemporaines » au sens où elles se définissent au présent, mais classiques en ce qu'elles sont liées au passé et à un être ethnique qui continue de palpiter aux marges des différents courants.       

                De cette façon, la galerie est une maison de préservation et de commémoration des arts qui ont commencé dans un passé lointain et qui palpitent encore et créent des échos créatifs et renouvelables, enrichissant ainsi les menus culturels existants.

La galerie est ouverte les mardis, mercredis et jeudis de 11h00 à 19h00 et les vendredis et samedis de 10h00 à 14h00

                                                     :Entretien, rédaction et saisie 
                       Yoel Emeth-Membre de l'Association des journalistes en Israël