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