We-Art, Carmiel│FineArc

We-Art, Carmiel

Although it wasn't my first exhibition, it was the first one I felt both at home and at a good one, at that. The gallery owner, Ronit Itzikzon Feldman, is as helpful, caring and kind as she is assertive, discerning and effective. all of which I desperately needed to cooperate successfully on this awesome and terrifying venture - to manufacture appropriate and high quality pieces for the themes We-Art presents, and feel adequate to participate alongside truly impressive and experienced artists.

So far I've participated in two formal exhibitions - "Choreography Of Color", 6 - 10.2025, and "Ethiopian Roots", 10 - 12.2025, as well as preformed my first live demonstration and talk about my work at "Taming The Lightning", 8.10.2025.

Choreography Of Color", 6 - 10.2025

...Ronit Itzikzon Feldman, is as helpful, caring and kind as she is assertive, discerning and boundary-setting. all of which I desperately needed...	Constrained and semi constrained Lichtenberg figures on scavenged and upcycled plywood with textile dyes and mica-pigmented epoxy. Commissioned by and presented at We-Art Gallery.	The piece portrays my experience from the fourth grade, when one day, social games turned into dancing, with no rules and no winners. Time and again, I was left on the sidelines, until my forties. The more people tried to help, the more I crashed against the walls of expectation and failure.
Under African skies, which represent the birthplace of humanity to me, and from a voyeuristic, foreign perspective, I painted seven figures, one of them hidden; Under stars, sunset, and daylight, to extend the present in the dimension of time - maybe given enough time, I’ll find compassion for that child I was, whom I am, who is still crying on the sidelines - well, for now, at least. To grow from him and from wins and losses, and just be.	During the exhibition, an encounter of Ecstatic Dancing took place, upon invitation from the owner, before i could work up the fear, i took the train and participated. one of the scariest things I have ever done in my life, but for a moment, alongside the fear, I felt the dance inside me, from within. Not as a riddle to solve or a mask to hide fear, but as an appetite. Just for a few moments. problem solved? No. But it is a precedent, and I will hop on the next opportunity, too.	it was the first one I felt both at home
and at a good one, at that.	Constrained Lichtenberg figures on scavenged and upcycled wood, textile pigment dyed, inlaid with mica-infused resin, fractal-edged and finished in high gloss automotive varnish.	Second iteration of this piece. The first was inspired as I shared the night with a mesmerizing woman on the Sinai peninsula under the setting full moon opposite the rising sun - as they shared the skies in a temporary truce. The first iteration was made and gifted to her a week after the event, with my heart on the same platter, and was summarily rejected. So it goes.

Ethiopian Roots", 10 - 12.2025

Semi-constrained Lichtenberg figures on scavenged and upcycled wood, textile pigment dyed, mica-inlaid resin, fractal-edged and finished in high gloss automotive varnish.	In the Danakil Depression in East Ethiopia, the second lowest, hottest on average and hottest settled place on earth, lies the Dallol volcano.	In its furnace, it cooks underground chemicals into salty acid pools which eventually evaporate, leaving fractalised residues to create the one place on earth in which not even the extremiest of extremophiles can survive.
Yet, in spite of these harshest of conditions, merciless beauty thrives, eons before it was appreciated by the local Afar tribesmen with their sharp, filed and pointed, shark-like teeth - beautiful and terrifying - like Dallol itself.	My visit there in 2017 echoes within me yet. Not just Dallol itself, but the whole unique country, so full of contrast and contradictions. It brims with natural wonders, offers museum-like preservation of the ancient kingdom’s architecture, represents a plethora of cultures and codes, all compressed into a typically African juxtaposition of hard and soft.	It guards it’s secrets like a rich miser, and is as user-friendly as a punch in the face. For the Farangie (foreigner), it is all familiar and all foreign, just like Dallol, where my heart is at home.
As I experiment with and develop a new medium, I don't always have the knowledge in the moment to fabricate the ideas arising within me into reality.	Without getting into technical details, every project since 2017 was subliminally influenced by the obsession of “how will this hone my skills in order to make “Dallol” eventually?” The learning curve took almost a decade, and I deem it worth every second.	There is no end to the journey.
but this was an ending. Of sorts.

We-Art, Carmiel

Choreography Of Color", 6 - 10.2025

...Ronit Itzikzon Feldman, is as helpful, caring and kind as she is assertive, discerning and boundary-setting. all of which I desperately needed...

Constrained and semi constrained Lichtenberg figures on scavenged and upcycled plywood with textile dyes and mica-pigmented epoxy. Commissioned by and presented at We-Art Gallery.

The piece portrays my experience from the fourth grade, when one day, social games turned into dancing, with no rules and no winners. Time and again, I was left on the sidelines, until my forties. The more people tried to help, the more I crashed against the walls of expectation and failure.

it was the first one I felt both at home

and at a good one, at that.

Constrained Lichtenberg figures on scavenged and upcycled wood, textile pigment dyed, inlaid with mica-infused resin, fractal-edged and finished in high gloss automotive varnish.

Ethiopian Roots", 10 - 12.2025

Semi-constrained Lichtenberg figures on scavenged and upcycled wood, textile pigment dyed, mica-inlaid resin, fractal-edged and finished in high gloss automotive varnish.

In the Danakil Depression in East Ethiopia, the second lowest, hottest on average and hottest settled place on earth, lies the Dallol volcano.

In its furnace, it cooks underground chemicals into salty acid pools which eventually evaporate, leaving fractalised residues to create the one place on earth in which not even the extremiest of extremophiles can survive.

Yet, in spite of these harshest of conditions, merciless beauty thrives, eons before it was appreciated by the local Afar tribesmen with their sharp, filed and pointed, shark-like teeth - beautiful and terrifying - like Dallol itself.

It guards it’s secrets like a rich miser, and is as user-friendly as a punch in the face. For the Farangie (foreigner), it is all familiar and all foreign, just like Dallol, where my heart is at home.

As I experiment with and develop a new medium, I don't always have the knowledge in the moment to fabricate the ideas arising within me into reality.

Without getting into technical details, every project since 2017 was subliminally influenced by the obsession of “how will this hone my skills in order to make “Dallol” eventually?” The learning curve took almost a decade, and I deem it worth every second.

There is no end to the journey.

but this was an ending. Of sorts.