In a series of Tempera on canvas paintings, Hanan Shlonsky decomposes the image, the shape and the narrative and creates a chaos of light and motion.

The paintings in vast format, round or rectangular are an ode to color.
The pigment, wax, the mixing and sensuality are transferred directly from Shlonsky’s alchemy lab to the canvas, without thought, intermediation, analysis or statement. Shlonsky rebels against himself, abandoning the classical painting to which he has been loyal for years, marching yet another step towards the vague, lashing against the canvas in stains and splashes. The more he distills and abstracts the more the paintings become lyrical, mysterious, a bold, spectacular synthesis of the big-bang and formless-void as described by Ovid:

Before the seas, and this terrestrial ball,
And Heav’n’s high canopy, that covers all,
One was the face of Nature; if a face:
Rather a rude and indigested mass:
A lifeless lump, unfashion’d, and unfram’d,
Of jarring seeds; and justly Chaos nam’d…
No certain form on any was imprest; 
All were confus’d, and each disturb’d the rest.

-Translated into English verse under the direction of Sir Samuel Garth

Closing:​ 30.11.14