Haim Levy ART Habens
The idea from which I drew strength to create was simple : A kitchen knife for spreading with a round tip and not dangerous at all , in a pastoral painting of objects in the kitchen that include this knife , creates a pleasant atmosphere in such a pleasant and sweet painting . In contrast , the knife that is not threatening to be drawn close to a person ' s throat makes the painting very threatening And not at all pleasant . So that any object in a situation other than the normal can give other influences to the viewer in the work . In fact , all my work in the field of painting in the beginning and in the field of sculpture later , was done in advance pre-work , sometimes sketch or writing and even deep thinking .
During the painting or sculpture of the work , changes were made even until the completion of the work in which I am a happy artist and ready to sign the work of art .
My art includes works from the realist field , in which a change is made and a twist that makes them modern and contemporary . Not all of them are clear and absolute , but they were made in a modern artistic spirit . I always think of the viewer as an art consumer , how he will feel and what he should receive in return for taking part in my art , since without a viewer who understands art , the artist has no real feedback and can not stabilize his own style . Of course , what leads me is my inner truth as an artist with a modern realist style .
The sculptures you mentioned , indeed stemmed from a deep thought , about how to give another dimension to the work , for example : A Women ' s profiles , the clay sculpture was carefully done to the face of a gentle queen without hair ( as the Bible tells of the ancient Egyptian queen " Nefertiti "), and then I just spread the clay into equal slices , the clay slices became worthless , Instead , I moved them on the depth axis . What I got was a new figure with a number of expressions or faces , so simple but very complex . a sculpture " carved " in wax to reach the image of a dancer in an irrational position , even though the male dancer holds a dancer in the air , it is possible that every minute the dancer will fall because of the unnatural and logical position . Thus , the observer " seems to be waiting for the moment when the dancer in the air will fall , or he admires the famous dancer with his dancing skills .
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Special Issue
Haim Levy
The idea from which I drew strength to
create was simple: A kitchen knife for
spreading with a round tip and not
dangerous at all, in a pastoral painting of
objects in the kitchen that include this
knife, creates a pleasant atmosphere in
such a pleasant and sweet painting. In
contrast, the knife that is not threatening
to be drawn close to a person's throat
makes the painting very threatening And
not at all pleasant. So that any object in
a situation other than the normal can
give other influences to the viewer in the
work. In fact, all my work in the field of
painting in the beginning and in the field
of sculpture later, was done in advance
pre-work, sometimes sketch or writing
and even deep thinking.
ART Habens
The sculptures you mentioned, indeed
stemmed from a deep thought, about
how to give another dimension to the
work, for example: A Women's profiles,
the clay sculpture was carefully done to
the face of a gentle queen without hair
(as the Bible tells of the ancient Egyptian
queen "Nefertiti"), and then I just spread
the clay into equal slices, the clay sli �\�X�[YH�ܝ\��[��XYH[ݙY�[HۈH\^\ˈ�]H���\�B��]��Y�\�H�]H�[X�\�و^�\��[ۜ܈�X�\����[\H�]�\�H��\^�B���[\�H��\��Y�[��^��XX�B�[XY�HوH[��\�[�[�\��][ۘ[���][ۋ]�[��Y�HX[H[��\����H[��\�[�HZ\�]\����X�B�]]�\�HZ[�]HH[��\��[�[��X�]\�HوH[��]\�[[���X�[���][ۋ�\�H�\��\���Y[\��H�Z][���܈H[�Y[��[�B�[��\�[�HZ\��[�[܈HYZ\�\H�[[�\�[��\��]\�[��[���[˂�\�[��HZ[�[��܈��[\�HوB��ܚ��[��\��\�HXYH]�[�[�[B���\][ۈوH�ܚ�[��X�H[HB�\H\�\�[��XYH��YۈH�ܚو\���^H\�[��Y\��ܚ�����HH�X[\���Y[[��X�H�[��H\�XYH[�B��\�]XZ�\�[H[�\��[���[\ܘ\�K���[و[H\�H�X\��[�X���]K�]^H�\�HXYH[�B�[�\��\�\�X��\�]�H[�^\�[��ق�H�Y]�\�\�[�\��ۜ�[Y\���B��[�Y[[��]H��[�X�Z]�H[���]\���܈Z�[��\�[�^H\��[��B��]�]H�Y]�\���[�\��[��\��H\�\�\����X[�YY�X��[��[�����X�[^�H\��ۈ�[K�و��\��K��]XY�YH\�^H[��\��]\�[��\�\��]H[�\���X[\��[K���B��
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