Land scape
Ehud Schori
CONTEMPORARY ART REVIEW
possibilities seem to play a crucial role in your pieces . How important is this degree of openness ?
The inherent democracy of abstraction has always appealed to me . I really appreciate that my works can be seen as open-ended , in terms of interpretation . I prefer my art to be generous in that way . Providing viewers with opportunities to form multiple associations of my work is very important : there is never just one correct answer .
Your works have on the surface a seductive beauty ; at the same time , they challenge the viewers ' perceptual parameters , suggesting the unseen , establishing a channel of communication between the conscious level and the subconscious sphere . Artists are always interested in probing to see what is beneath the surface : maybe one of the roles of an artist could be to reveal unexpected sides of nature , especially of our inner nature . What ' s your view about this ? In particular , do you think that your works could induce a process of selfreflection in the viewers ?
Curiosity is an essential element of the desire to make art and of the desire to look at art . When I look at art made by other artists , I instinctively try to imagine or learn the circumstances of its making , and I assume other viewers do this as well . I think that visual art , at its best , is an opportunity for an artist to have a silent conversation with the audience . Whether it pertains to the ostensible subject of the work or not , the conversation always relates to the viewer ’ s response to and interpretation of the work . I enjoy making art that questions and confuses perceptions , but I don ’ t assume that my art has the ability or responsibility to affect anyone ’ s inner nature . But to the extent that I undergo some selfreflection through my creative process , perhaps viewers can see that and identify with it or find a resemblance with some feeling or motivation in themselves .
Your works convey a captivating abstract feeling and provide with dynamism the representative quality of your pieces : the way you capture non-sharpness — what is moving between the real and imagined , in the sense that each representation has an abstract quality to it — with a universal kind of language , one that can be understood by everyone , apart from any consideration related to cultural background . Suspending the viewers between imagination and reality marks out a considerable part of your production . How would you define the relationship between abstraction and representation in your practice ? In particular , how does reality and a