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רגיל למייל_edited.png
רגיל למייל_edited.jpg

And you go to the forest and lie under the open sky - there is more room there for a stranger and for the birds in their flight... and you hide your head in the reeds and grass; ants, beetles and small, soft lizards climb through your clothes to your face, and look at you with their green-velvet eyes, while the peaceful silence of the grove and of the air rustling around you, while God sits on high and looks down on you as if you were his most stubborn obsession.
Knut Hamsun "Mysteries"

The exhibition presents paintings from recent years, in which we experienced movement restrictions and accumulated many home hours. At first glance, one can feel in the paintings the longing and yearning for open spaces and nature. The landscape paintings, forests, mountains, streams and trees are the painter's new space of free movement. The creation of these spaces is Tina's way of traveling in distant places, surrounded by nature, alone, since there is no human presence or anything man-made in the paintings and animals are not there either (although their presence is safe by virtue of their necessity as part of a smart ecosystem) there is a strong sense of life in nature, it is rich and vital and seems to have been immortalized in one of its highlights of the year.


Tina's paintings are characterized by strong colors, ranging from the figurative to the abstract, between the distinct structure and the blurring of the line. Tina draws from memory alone and allows the information that remains, the collection of memories stored in the body, to become a new place consisting of the sum of all the images and sensations at the moment of painting. In Pest, this is a distinctly impressionist act. However, a certain degree of abstraction is revealed in the paintings, whether it is in certain parts of one painting or from the fact that they become part of a series, in their peer group.

Tina goes through a powerful commitment of laying a line through the use of strong color surfaces to blurring the lines and merging the color surfaces, undermining the significance of the place, turning it into "every-place", every-mountain range, every-forest, at any time.  In this "every- place", a place that becomes texture, color, movement, the viewing experience expands and makes room for the spirit. In the act of creating, it is always hoped that there will be a connection to the spirit and hence the exhibition offers a full circle that begins at the moment of painting and ends with the viewer, the space of the spirit enables the creation and continues to exist at every glance, and each look as if makes more room for the spirit, there is more room for the spirit.                                                                                                                                                                                                                                                                                                   

Curator: Sahar Azimi

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