Now on view at Wertheimer Gallery New Totems and Other Sleeping Gods | Group Exhibition | 22.02- 30.04.2024 Suly Bornstein Wolff, Philippe Boulakia, Israel Cohen, Elsa Ers Brosh, Ziqian Liu, Jessica Moritz, Daniel Remer, Dubi Ronen, Beenee See, Hen Songo, Miguel Vallinas Prieto Light Waves II Light is a wave. A fast shortcut that you can understand how it started and where we are heading. in my daily practice of light observation, I have noticed how it influenced the way I paint or the colors I create. So I came back to drawing to do a reset and base my observation on shapes only. As I was expanding the shapes research, I started to draw shapes that would reflect more accurately the different forms that light can have. Physics and studies helped me to find the different shapes according to context then came symbolism and my own experience with light(s). As some of you may know, we live in the darkest time of humanity. Whether you live in it or witness it from any part of the world, instinctively we all seek hope. In trouble time, I look at physics books. I cannot scale the issues we experience in a formula but I see them as an open equation. Therefore, my paintings are the translations of these theories about light or hope, where for one second, the time being, working on it, we all can have an impression where a theory is solved and light comes through. The illusion and irregular shapes expand the painting to an irregular approach to what we assume of Painting. Being able to create rhythm with shapes and then colors gave me a new freedom in the way I even started thinking about painting. The gradients are an expression of salvation in these utopian theories, where light becomes harmony in chaos. The solace may go a long way to a short relief, until a new vision comes and invites us to ride again. Let it be quantum of solace for us all. Light waves, pigments and acrylic on canvas, structure wood, plywood, and MDF 89 X 158 X 10 2024 Eyes Wide Shut The visual field of the human eye spans approximately 120 degrees of Arc. However, most of that arc is a peripherical vision. Geometry is a bunch of lines meeting in a fortunate way, right? Let's say that some harmonies are geometry that went to the right place at the right time. I always enjoy thinking about Pythagore and the many discoveries he made. One of them is about triangles and angles a2 + b2 = c2 From that formula, A diamond shape came to my vision, break it and then created a palindrome within, and then shift the shape slightly. The fun part of thinking about a new painting lies in the challenge-research. If I knew from the beginning it would fit, there wouldn't be any point in going further. Reducing the shape as minimal as it can be to create perspective to re-think shapes and how we relate to them. let's take this angle, play with it, and twist that thought into a shape. The concept of seeing and understanding the vision is underrated. We, wrongfully- think we always have a full vision of one picture because we rely on that good old saying "What you see is what you get", But is it? Over centuries of physics, experiences, and mistakes, we discovered new perspectives and angles that we thought were mysteries, legends, or unknown; Until someone investigated. I do believe there is some correlation in The Art field in that sense. As much as a square is satisfying to contemplate, having equal sides, being so stable and fitting anywhere; It fails to complete the extension of our ability to see in a physical sense. This painting is another eye gymnastic exercise to question both the physical intention of seeing and what Painting can be. The experience of understanding one shape reveals singular/ personal boundaries we all have surrounding both (intentionally or not) Once passed this experience, the viewer can conclude his/her understanding and start the real work of questioning everything. Last, Keeping up with the light and standing in the shadow hours when it's neither day nor night. where the sun is hidden, coming or leaving, Vesper is here. In between two moments of time, still intangible. A moment of muted light that belongs to the path of transformation. The irony of these bits of time is that no one notices them until they are gone. They are like an extra in the movie, giving context and presence for the light to see. pigments and acrylic on canvas, structure wood and MDF, 90 X 116 X 11 2024 Fahrenheit, pyramid, something's gotta give We all look up, for elevation, hope, and physical reflex.might seem automatic, but we all wish to rise above. to find the essence of things; energy, wealth, health, and all that can make us greater. But are we really seeing it or is it even reachable? or is it an illusion? how so? I was thinking about this perspective of good, in the Art form, and realized that we, Artists; are lucky to create our Oasis, the illusion of a good place, or that state of fulfillment in our Art. We display harmony in chaos, for centuries, for Us, and the viewer. A beautiful, disillusional dystopian universe where you visit, take a breath and come back to reality.In this work, a square pyramid, made of reclaimed wood, MDF, and found materials, I started by thinking of the outside perception. What kind of mirage I wish we could visit today, what kind of feeling I was looking to reach, and the distance. Again, I came back to the Dawn, this moment of hope, exhilaration, and distraught at the same time. what has been done, cannot be undone, what has been silenced cannot be said, what you did or didn't is already gone. we all have that feeling, right? I have taken pictures, collected in a way, sky or space pictures in that sense. the momentum of light, consciousness.Even in darkness, there is light. what can seem unreachable is closer than you think, just as in any direction, something's gotta give. disillusion is great, come visit. Little by Little, I decompose the light, a kind of sky spectrum, into a color palette. And painting layers by Layers, this moment on the pyramid.As if you could visit, be in that moment, and realize it was also yours. square pyramid with a base,slot in the back to hang with nails or screws depending on the walls can also be standing on a basement display 31X 31 X 24 (cm)pigments and acrylic on reclaimed wood, hand jigsaw 2023 Tel Aviv, Israel The term “totem” originated in the 'Ojibwe' dialect of North America and can be understood as a reference to “kinship”, “lineage”, “identity”, and so forth. The term gradually gained importance during the 18th century and was exported to describe the same type of human Certain animals and plants were also believed to .animal relationship on other continents share this relationship, and thus their symbols became the national emblem of ethnic groups, known as “totems”. According to the anthropologist Claude Lévi-Strauss, totemism was a way of naming a fusional relationship with nature. The term has been also evoked to design a form of collective worship, reinforcing social cohesion and solidarity. While Totemic art refers to artistic creations that depict or embody symbols of animals or other natural objects representing the spiritual beliefs and traditions of a community, the concept of totems gradually emerged in modern and contemporary art in the 20th century. Examples include: the relationship between Jackson Pollock and primitive religion, the association between Pablo Picasso and African masks, and the connection between avant-garde futurism and myth. The concept of the totem animal was also embraced by several surrealists—the fish for Breton, the bird for Max Ernst, the horse for Leonora Carrington, the dog for Dorothea Tanning. In a similar view, the artworks presented in this exhibition offer various insights into the art– religion or sacred relationship in the broadest sense of the term, viewing art as a vehicle for expressing spiritual dimensions and responding to essential human existential questions. The works acknowledge duality by reflecting expression of tension between life and death, between reality and fantasy, between Nature and the supernatural, unveiling a mystical experience triggered by imagery. Text: Nathalie Wertheimer New totems and other sleeping gods on view until 30.04.2024 at Wertheimer Gallery Visit 8 Kikar Plumer St Building 36, Tel Aviv Port, Israel https://www.wertheimergallery.com Opening Hours Sun-Thu | 10.00 am - 06.00 pm Wed | 10.00 am -  07.00 pm Fri | 09.30 am - 13.30 pm

Once upon a time... every painting starts like this or maybe should. Sometimes I am nostalgic about colors, or format should I say. I always enjoyed Western movies. I need to be specific so that you can see the different dimensions it takes me to invite you. So a little about cinema history, spaghetti western, most of these movies were using the technicolor process. ( Technicolor. / (ˈtɛknɪˌkʌlə) / noun. trademark the process of producing color film using superimposing synchronized films of the same scene, each of which has a different color filter, to obtain the desired mix of color.) The use of this technique gives this saturation of colors by superposition. Simultaneously, I have vivid memories of the narrative and director's choices: minimal frames, the rhythm in sequences, camera positions, pace between landscape, characters, and music. Inspiration can come from unexpected places, right ?! Now, what if I adapt this perspective to my vision? Well, I tried. The approach is minimal, as a glimpse between blinks. We often underestimate the silence, or breathing in painting, which I truly enjoy in Western movies. This is how you create momentum or suspense. As an Abstract landscape, The painting is taking place in the west, you can hear a rolling hay, see a blinding light, and follow the movement around. I am not really interested in painting realities, yours or mine. Visions and utopian worlds seem more relevant in our reality. We sometimes need just a different perspective to look back and move forward.

my process starts in my sketchbook, then moves on a piece of paper, drawing the grid, creating a skeleton of each painting, before even thinking about colors. One good thing about geometry is that you can fastly create shapes by the grid system and bad measurements are fast to see. it's a little like a recipe, you can try with different calculation, but it can go south very fast. I Start by drawing the grid, squares, then circles. Keeping everything symmetrical, and light sketching lines to be able to erase them easily. This one show 9 different proposals for the same color scheme, from pink magenta to purple. From that serie, you need to make a selection and decide which one can move to the next step: Painting or sculpture. The translation from a small drawing on paper sometimes goes 3D, and see the initial idea becomes A tridimensional painting. The early stage is raw and dislpay the lines to guide me while painting. each time, painting primer, the grid, making sure the shape can fit, drawing all lines and cutting the unnecessary parts. While moving from classical painting (canvas- to sculpture, i realized that the rectangle was sometimes lowering the idea and also giving thid reflection (unwanted) about screens and one dimension relation. Litteraly as picture (jpeg definition) and less as a painting. flattening the act of painting can be good but only if desired. From sculpture, I saw the opportunity of shaped canvas. What if i build my own painting, from scratch to varnish. the technical aspect is very different but it also really challenge the viewer in his idea of what is painting. which should happen more often. we underestimate questionning simple things maybe because they are old and we think they cannot change or because we stopped to think what if not... this shape implies strecher, bars, polywood, flexiwood, mdf, canvas. (120 X 120) Let's take another example. Heres the necker Cross, also know as necker cube, displaying 3 Cross or X in different space rotation around the necker cube. Again, starting with a grid, from the center, to be sure that the drawing will respect proportions and fit the page properly. The cube first, then adding parallel lines, and slowly showing the 3 crosses. this cube is commonly used in tessellation compostion, pattern, and sacred geometry drawing. Over the years I tried my best to have a different approach each time, withing painting, sculpture, and of course colors. you can find many examples in my work of different use of geometry and color theory using tessellation, perspective, op art, and colorfield. If you are interested in collecting you can reach me directly by mail at moritz.jessica@gmail.com or collect my work on Saatchi or Artfinder.

I created a collection of painting investigating the different color theories: Goethe, Albers, Newton, Pastoureau... and did some experience related to surface and relation with space. All paintings are the same surface and and I tried different color techniques such as halation, monochromatic, triadic, tetradic, complementary. I want to translate my journey of colors through hard edge paintings and create an escape for the viewer and propose a new exit. Each painting is a square of 20 by 20 cm, the size of my hand. The intent is to create a closer relation with painting and be able to manipulate easily in the space. When I started this serie, I had in mind paintings that could be working individually and fit together as a mural, or puzzle. Always interesting to see how minimal gesture and reductive choices of colors can make a different painting every time. Always nicer to look at them together, and give them new match. they all can be hang together or with space between, every side is compatible and encouraged to play around. Within the process, it became a brain Teaser, and I have decided that all sides should be able to mix and match. Of course some of them would have more acquaintances than others, just like us. We can coexist seamlessly. About colors and edges, yes another mindscape. The confusion of negative space and borders are necessary to create a shape, that doesn’t mean it’s closed. It's always about the grid. On each painting, i would first draw a grid with color pencil, and divide the canvas in 9, sometimes 16, and up. the point is to think about the surface rhythm, and always keeping mind that each edge can be working with another. In that process, I chose to work with a reductive color palette to limit combination and find different color harmonies in one or many paintings. It can be seen as generative art but made all analog. I chose to define rules that can be used on small scale, and also without limitation of numbers. Orange variation part of the square collection, different use of orange related to surface and colors juxtaposition to observe light and colors on different size and interactions. The composition use isometric architecture on different scale and vector shapes with different colors properties to create a perspective in colorfield painting, an escape for me and the viewer. the square collection. Collection of 46 painting based on the same color palette. Exploring colors influence and color theory related to surface and light. 2020. Jessica Moritz paintings, acrylic and pigments on canvas, 20x20 (cm) x2 Position can be changed and each sides are compatibles this collection was on exhibition at Tiny Tiny Gallery Tel aviv 2020

The observation of light is a daily practice in my work. From physics to personal perception and appreciation, I try to explore a different point of view and translate each into a Painting. This time I have extended the experience on a bigger scale, and also built a shaped canvas to enhance the color properties. The light and space's relation to a 2D object such as painting on a rectangular surface is interesting but often brings me back to a screen relation ( computer, phone, iPad) which has its limitation. By building the canvas, creating an odd shape, a reunion of circles, closer to the physical perception, the actual vision we have. As established by Newton, the visible light spectrum is the segment of the electromagnetic spectrum that the human eye can view. More simply, this range of wavelengths is called visible light. Typically, the human eye can detect wavelengths from 380 to 700 nanometers. I chose to exclude half of the range, meaning mainly the red. Red has such a strong impact on the human vision that even a small amount can cancel the perception of other colors and therefore the space too. the shape comes from the idea of multiplication of this half part of the spectrum as a twisted shape, originally coming from the conic vision that we all have. Half spectrum, geometric escape, shaped canvas reclaimed wood, wood, MDF pigments and acrylic on canvas 120 X 120 X 6 (cm) 2023

As I often say, you need to accept the darkness if you want to see the light. The observation of light, from a physics perspective and from a spiritual point of view. About the rayleigh phenomenon, it was established that Blue is the shortest wave in the visible spectrum accessible to human perception and therefore the scattering would reflect and create the blues we know in the sky. The scattering of light off of the molecules of the air, and can be extended to scattering from particles up to about a tenth of the wavelength of the light. Wherever we are. There is a lot to say about light (natural) that as a visual artist can understand and change the use of colors and the perspective of painting. I built a shaped canvas by curving wood and upcycling some leftovers and I had to also buy some new pieces due to the scale of these pieces. Circles are important in my work and led me to many compositions and new discoveries. Closed shapes can be perceived as a limitation. But, Let's see it from another perspective. Let's say there is a dot, another, and another that you reunite with and create the line that drives you to the circle. I really enjoy details and prefer to see space as a reunion of circumstances and light selection, as if a lighthouse was always around. About symbolism and vision through that paintings, I layered different concepts and directions to get these paintings as a new direction in my work. I started by compiling physics and physical aspects: the eye vision, the way we perceive its shape of it. from the shape of an eye to the conic perception of what we see. Especially nowadays, where we seek attention, familiar faces, image, and presence. The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement, and the base of humanity. In Sacred Geometry, it stands as the symbol of life, the first step to building energy (flower of life, mandala...) We can also see them as the sun, the moon, and the earth and be more grounded and realize how small we are in this constellation. A shape with no end, and no beginning, just unity. Lately, I have tried my best to decompose each color, display their lightest shade, and evaluate proportions influences. Sometimes giving equal space and surface, creating an optical illusion by using a gradient, color theory, and isometric grid. Finally finding harmony between shapes and colors. Distance, proportion, symmetry, and execution of colors create a unique reflection that allows the viewer to accept the painting as an experience and to focus on what they see, linking it to their own relationship with light and space. We all have different perceptions and visualization. The way we all interact with light gives us (all) a singular experience, each time, over and over. pigments, acrylic painting reclaimed wood, found materials, wood, mdf canvas diameter 111 cm side of 5,7cm

Blob is a serie of works exploring the relation of data and Art. The new era we live in has encouraged us to be more involved in virtual relations, content, and creating our own data, meaning creating our own narrative. Nevertheless, Blob happens. what is a blob? well, to make it short A blob is is a collection of binary data stored as a single entity. Blobs are typically images, audio or other multimedia objects, though sometimes binary executable code is stored as a blob. They can exist as persistent values inside some databases or version control system, or exist at runtime as program variables in some programming languages. It is not to be confused with a binary file stored in a file system. source here how fascinating it is to look into data as an abstract representation of us or a singular person? Let's go deeper into how a blob can be translated into a shape. If you need to visualize the process, lets say there's a pile of laundry that got sewed in together while they were pilled up. (simplified version) from that, I chose to combined this concept with colors and create a color palette that would be stacked to create the shapes of each blobs. As Data is something intangible, most of us are not sensitive to storage, management, and classification of it. But if you look at it with the eyes of an abstract artist, you can visualize stacks or organizer of it, by type, colors, origin, or encryption. We are now in an era where you data say more about you than what you would think. If we go deeper in that direction, we can scale the different types of Data in the different ages of Web. In Web 2, we are the product, our data is used to be monetized and make money, if you didn't know, its time you realize. Remember when something is free its because you are the product. In Web 3, we are developing smart data, encryption, protection of Art and artists in and out of any blockchain. This might seem abstract to a lot of people now but will for sure redefine how we behave online and hopefully offline. Going back to the creation of these Blobs, Art in general is a reflection of what happens in society at the same time. If you look back in Art history and make the parallel with History, you will notice how Artists have spoken on Social movements, revolution, politics, wars and historical events. Data is the new influence and major factor of our present and future life. The accumulation of Data, and power to maintain it is growing everyday, and we are building blobs all the time. Data is so fascinating to observe and watch almost eyes wide shut and think about it as a new form of expression. if we go further, with generative art, Or Artificial intelligence , today almost anyone can create shape that can be unique, the visual and data attached to it. technology enables us to see and build further than what we could. Now we need to build the reflection and motivation to level up and create meaningful data legacy. All paintings are hand jigsaw, pigments and acrylic on reclaimed wood. Price or commission a blob moritz.jessica@gmail.com Prints and accessories also available collect prints here

An atelier (French: [atəlje]) is the private workshop or studio of a professional artist in the fine or decorative arts or an architect, where a principal master and a number of assistants, students, and apprentices can work together producing fine art or visual art released under the master's name or supervision. As long as I can remember, my studio has always been like a second home. in the last 5 years, i am now in my fourth studio, located in South tel Aviv, Kiryat hamelacha, Israel. the neighborhood is a hive of Artists, designers, galleries, craftsman and little factories reunited in Three blocks. Initially built in the sixties by Yitzhak Rapaport and Asher Gliberman, industrialism architecture, the place was built to create an industrial area and was full of factories, workers, and later Artists came to set up their Art studio and give a new breathe to the neighborhood. An art studio is a place of Happenings, testing, procrastination sometimes and research. Often times, we have studio visit and artist talk to exchange on Art, daily questions and prepare for exhibitions or other projects. As you can see, it's often busy by actions or thoughts, different works at the same time to let them dry and mature or start Over. As Artists, we regularly oscillate between order and chaos. We need to get to that energy to fulfill our mission. As you can imagine, light and colors are very important in my work. The studio is organized around colors and the different steps of creating an Artwork. I collect materials, wood, paper, and other reclaimed materials in the area, and store them at the studio until i find an idea of how to optimize their transformation. Once a year, we host an event called "אוהבים אמנות עושים אמנות" where we open our studios, welcome visitors and share our practice, work in progress, and invite everyone to discover contemporary Israeli Art, Design and craft to connect directly with our Audience and make it easy to connect. you can also contact me and book a private studio visit, and also arrange a special tour or request some works. mail to moritz.jessica@gmail.com you can also follow my daily practice at the studio on Instagram: @jeszmo_art Lately, i have been working on large canvas exploring colors and pattern with Truchet study. drawing small labyrinths and try to find new combinations to create a new escapism in painting. minimal set up can help to create simple harmonies and keep the message clean while painting. I usually have a very simple routine to start a painting or a sculpture. I start by single line sketch on paper. I can do a dozen of it. After comes the times to be selective, if the drawing pass the test of minimal form, it can go to the second step: defining size and materials. I work in 2D and 3D, therefore I need to chose how i will translate this minimal drawing, will it be a painting? will it be a sculpture, will it be an installation? how far can I scale this shape in space? the answer can be fast but also can take sometimes. that's why we often - as artist- have phases where we sit, look at things and wrap around each idea until we find the best way to do it. For each work, i define a scale and process and what really makes the difference: the color palette. Each work explores color theory and my own interpretation of light in different context. Most of the time, I chose to work with reductive color scheme, and try to do bridges with color harmony: triadic color scheme, split complimentary or tetradic colors. sometimes a good harmony of colors comes form the proportions of each color together or by the saturation of only one. and that's why the inspiration is infinite, there are so many possibilities that I can say for sure that i will be exploring colors and find new harmonies for a while. The walls of the studio are often full of Art, such as paintings, wall sculptures, canvas, color palette, little drawings and notes to process everything. Hanging works in the studio is very different from a gallery (white cube). Usually in a gallery, the works will be hang to make the viewer a clear and comfortable lecture of the Art works. In the studio, Artists hang the works to be able to re-work on them, see if they fit the rest of the body of works, or closer to the best light source to see them better. If you can, look at artist sketchbook and then you will understand their work and process so much better. For example, this is one of my sketch book, working on a serie called random pattern memory; only using cut outs from found paper, painted rejected or abandoned using a grid system. for some of them the paper collage was the final proposal and it works fine, but for this one i thought, lets push it further. as you can see, its the same idea, that i chose to push in 3D, add edges, and keep the same balance with colors and shape. In Conclusion, each artist has their own process, visiting an artist studio can bring you to the heart of his/her/their process, also open a conversation about Art, Architecture and inspire you. If you want to have more informations, book a visit or get in touch mail to moritz.jessica@gmail.com you can also follow my daily practice at the studio on Instagram: @jeszmo_art and visit jessicamoritz.com to learn more about my work

After one year of collecting materials from locals, sourcing different surfaces, keeping cut outs, irregular shapes, non recyclable and remodeling them and creating illusion, i wanted to give one last chance to all cut outs, the last cut. It started in the studio randomly layering some cut outs and seeing the potential of them as -negative space- shapes. It changed my usual process of symmetry and harmony, and starting to create rhythm and breathing in the composition. Cut outs became a shape itself and instead of painting new fields, i was chasing cuts to coexist, overlay, be even more reductive. Trying every time to introduce new color harmony, letters and new dynamics. I was comfortable in filling an area, and didn't realize that I would be reacting to the surface and therefore angles. By changing the process, working with "broken angles", pieces left from previous sculptures or found objects, The angles would come from within. The colors would create different rhythms by their surface, as a collage and question the viewer if it was a painting or a sculpture. Also considering the Architecture side of it, building a shape from 3D surfaces bring something completely different to the notion of painting. Usually by drawing, i would create illusion of perspective, impossible geometry or symmetry in the canvas or shape. Colors leading the shape and thinking how to create a new dynamic within. 4 pieces can include different colors, patterns, angles, and shapes. which also means that the first reflection on that body of work was shape oriented and then colors came as a reaction from the dialogue between all shapes. Colors are covering all surfaces, geometric patterns and create a new color harmony just by themselves. Using borders to reunite pieces, as a puzzles, sculpture become like a bas-relief of colors that display color block geometric harmony. The fun part about this project is to think that what use to be a negative space from a previous work, suddenly becomes a new side of colors. Looking at each color block sculpture as some new harmony that i will use in new work, drawings or digital abstract, and painting. Few definitions to understand the references From Wikipedia, the free encyclopedia Karl Benjamin Lorser Feitelson Frederick Hammersley June Harwood Helen Lundeberg John McLaughlin Hard-edge painting is painting in which abrupt transitions are found between color areas.[1] Color areas are often of one unvarying color. The Hard-edge painting style is related to Geometric abstraction, Op Art, Post-painterly Abstraction, and Color Field painting.[2] Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions. Although the genre was popularized by avant-garde artists in the early twentieth century, similar motifs have been used in art since ancient times. Josef Albers Richard Anuszkiewicz Mino Argento[4] Hans Arp Rudolf Bauer Willi Baumeister Karl Benjamin Max Bill Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."[1] During the late 1950s and 1960s, color field painters emerged in parts of Great Britain, Canada, Australia, and the United States, particularly New York, Washington, D.C., and elsewhere, using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.[2] Sam Francis Helen Frankenthaler Paul Jenkins Ellsworth Kelly Paul Klee Ronnie Landfield Pat Lipsky Morris Louis

Escapism Definition: es·cap·ism /əˈskāpˌizəm/ noun the tendency to seek distraction and relief from unpleasant realities, especially by seeking entertainment or engaging in fantasy. "virtual reality offers a form of escapism" synonyms: fantasy, fantasizing, dreaming, daydreaming, daydreams, reverie, romance, illusion(s), fancy imagination, flight(s) of fancy, pipe dreams, castles in the air, castles in Spain, wishful thinking, woolgathering, pie in the sky What goes around comes around While drawing new mindscape, I was looking if different symmetry and line path, and I got lost, again. The painting direction came out from different interactions, wanted or not. Since we are all together apart and wishing to be closer but at the same time not facing our issues, it came as an irony of the situation. « Closer » is so subjective and overwhelming. Still, intentions and actions have ripples and create this circle around the square, meaning energy stuck into a concept. Pick your box, tick on any subject, what goes around comes around, and will make sense to some point, hopefully. Utopia of balanced relations in chaos, as if you were close, or facing your own truth. illusion of harmony is always better than concrete chaos. Pigments and acrylic painting onreclaimed wood, hand jig saw, 50 X 35 (cm) 2021 Velvet Libes, geometric escape in my process, i always combine colors, shapes and illusion. Sometimes I investigate on the typography and symbolism. In this work, i combined few symbols and letters, collected in the last cycle, as a new language to add to my painting vocabulary. it starts with writing and sketching, and slowly blurring the lines and evidences of clear lecture of the situation. I believe the viewer can have their own interpretation of a painting without having the notice of lecture. In the last two years of my practice, I have been sourcing materials around my studio, collecting Wood, MDf, found materials. this work is made of 100% of found wood, mdf, another street gems. i try my best to sustainable in the process and to encourage artists and collectors to have this reflection about Art and design. Behind the lines, I created different paths, encouraging eyes to travel, get lost, a mindscape, in a way to be concentrating on colors and get the essence of light. i guess we can call it meditative, hopefully it will bring some escape in chaos. pigments and acrylic on reclaimed materials, hand jig saw 42.5 W x 95 H x 3.5 D( cm) 2022 Tel Aviv, Israel Light Escape double exit wall sculpture in Chaos you find order, and vice versa. working around classic shapes such as square and circle, i wanted to play with both. Create a square made of circles, as a portal. The idea of escape with different options came up. so I created two pieces, the two shapes are identical and invert to create a negative space that would be part of the installation of the painting. I wanted to create other illusion inside, so i create a color palette from yellow yo indigo blue I'm referring to light and different study about climate (learn more about climate change). the outlines makes your eyes tingle and question colors and dimension, hopefully a break from usual landscape. Circles create a labyrinth, even on edges, has entry and exit. There is also a back light from the panel (they are colored too) this create this halo who creates an echo to the color harmony in the front. By changing position of the two shapes, you have different options of journey, creating a square, a tunnel, or any shape you wish to see according to hard edge borders or curved ones. I hope this work will question your perception of reality and open you to new perspective, real or not. this work is made of reclaimed materials, found wood and MDF, pigments, acrylic, felt pen, spray paint. 86 W x 100 H x 5 D (cm) Tel Aviv, Israel. 2021 The moon between us wall sculpture As a light artist, I am also concerned by the physical relation of it, and environmental observations. I observe changings, influences, and always look at the moon as a challenge and utopia of exploration of human achievements and dreams. Grass is greener on the other side, sometimes. At the same time, Being away from my family, living in different time zone, I always look at the moon and think that it link us by sight, and in a way make us closer. On a spiritual side, moon is leading many calendars and opportunities that can bring you higher connections and relief. I expanded my colors according to moon light and difference between studio light or different day lights and introduced earth tones, and colored grey to create this connection. I hope it can bring people closer or forget restrictions and boundaries that we are facing now. this work is made of reclaimed materials, found wood and MDF, pigments, acrylic painting 52 W x 26 H x 3 D (cm) Tel Aviv, Israel. 2021 sky escape, geometric utopia, golden hour 2 sculptural painting On my journey to escape the current chaos, I always look up. The various mysteries related to sky, space, light and how we see it and what we do with this knowledge. Mission to Mars, or moon explorer still resonate and are an infinite source of inspiration. The paradox of the global situation is ironic and makes it even more fascinating. We are all, more or less, on limited movement and travelling. Creating some utopian landscape generated by these observations makes my journey easier. The escape is determined by the viewer. Observing the Hubble and seeing the Nebula, the stars and the moons is a relief. Isn’t is amazing to have this vision and see the light from here. We need darkness to see the light. I translated this concept into a shape, a new mindscape to add to the collection. Mind the light. i did a serie of this shape reuniting different light studies, and observations, proposing a spectrum of moments and escape. sky escape, geometric utopia wall sculpture-painting acrylic and pigments on reclaimed wood hand jigsawed 40X 28 X2 (cm) diagonale (47cm) 2022, tel Aviv, Israel Homage to the square wall sculpture homage to the square, inspired by the works of Albers, and different color theory. Made of reclaimed wood, acrylic and pigments. the structure and color surface are based on fibonacci sequence (golden ratio) I chose to work on RGB spectrum and develop colors according to the sequence and surface of the sculpture. all sides have different heights (8, 13, 21) both sides now, geometric distraction wall Sculpture Geometry is essential in my practice, in architecture, in daily interactions. I use different shapes and typography to create new shapes, shadows of the first ones and giving them depth with colors. i created a color harmony thinking about spring, about some flowers and memories of what spring can be and might be again. I always enjoy creating interlocking shapes and create an in/out relation for the viewer. each side meet and create a new border, or new order, inviting the viewer in my escape. you can see it as a geometric landscape or a colorful wave to swirl into. All my recent works are made from reclaimed materials, found in the streets, in different locations in Tel Aviv. iWant to raise awareness about sustainability in The Arts and invite collectors to be more mindful about our choices and lifestyle. I also prefer cutting shapes that reveal the negative space with a halo of colors form the back of each sculpture to value the space that they are living in and give a new vision each time the viewer look at it according to the difference light in the day or night. wall sculpture-painting acrylic and pigments on reclaimed wood hand jigsawed 2021 53.5 W x 27 H x 3 D cm Rainbow chaos sculpture During the last two years, my work shifted to geometric, and minimal observation of light and space. At the same time, as living in a country where I had to adapt and learn, language became a new field of research and inspiration. Little by little, I built new glyphs, alphabets, signs and expressions to ground myself and adapt. This is a letter, or can be many letters actually. I was thinking about Chaos. How we all strongly (more or less) adapted and find ways to have balance in this context. In physics, chaos is announcing creation, which makes a difference compared to our experience and knowledge (common language). Imagine seeing rows of organized points slightly shifting and spiraling. After that can be something new and innovative but the fear of change we all carry will mostly see end or interruption of what we have. The state of belonging and possession is not sustainable. That’s one day to look at chaos and see the option of new beginnings to overcome this state. About colors, space has been and will always be so inspiring. The different shades and shapes of nebula, Saturn, temperature charts and maps inspired the colors and gradients from copper to blue, shimmering, reflecting more light to the surrounding. The sculpture has a a point of balance that allow a movement (gentle) and can be also be flipped in the other side, as a cubic rainbow. This sculpture is made of reclaimed wood, hand jigsawed and folded. 12 pieces 37.5 W x 27.5 H x 6 D cm Pigments, acrylic painting and metallic pigments. 2021, Tel Aviv, Israel. Sky Escape, geometric Utopia wall sculpture On my journey to escape the current chaos, I always look up. The various mysteries related to sky, space, light and how we see it and what we do with this knowledge. Mission to Mars, or moon explorer still resonate and are an infinite source of inspiration. The paradox of the global situation is ironic and makes it even more fascinating. We are all, more or less, on limited movement and travelling. Creating some utopian landscape generated by these observations makes my journey easier. The escape is determined by the viewer. Observing the Hubble and seeing the Nebula, the stars and the moons is a relief. Isn’t is amazing to have this vision and see the light from here. We need darkness to see the light. I translated this concept into a shape, a new mindscape to add to the collection. Mind the light. i did a serie of this shape reuniting different light studies, and observations, proposing a spectrum of moments and escape. sky escape, geometric utopia wall sculpture acrylic and pigments on reclaimed wood hand jigsawed 39X 28 X2 (cm) diagonale (47cm) 2022, tel Aviv, Israel

This complete series was made during lockdown. As I set up a table at home to create room for creativity and mindfulness, I was observing the influence of light and time. I started to paint, not knowing when I would be able to go out again. With of the absence of direct light, I worked with mirrors, dichroic cubes and artificial light sources. The main idea was to capture light at different times of day and interpret these moments with gestures of varying intensity and a dialogue between colors. Much like my own inner dialogue, some days the results were harmonious and some days they were filled with intensity. One of my color theories is about the addition of different colors and their interaction in response to the surface. Colors can have a completely different impact depending on the proportions in which they are used and their juxtaposition. My painting process is about reducing the gesture, by doing the same over and over, until it becomes a choreography, with the gesture as a ritual and a mindscape for both me and the viewer. All these works are made from reclaimed wood, jig -sawed by hand. It is central to my practice to use sustainable materials and to encourage the art world and other creatives to be more sensitive to this subject. Infinite light grey variation between illuminating yellow, purple and ultimate grey. Some reflection on the color of the year (pantone 2021). I created a grey from scratch, as you know black is not in my color palette, and I manage my colors as RGB spectrum. As said before I have been reductive in my process, and pushed boundaries of color theory and geometric structure to create mindscape. These abstract vortex became more present in my repertoire, little by little growing as a garden of torus, light and space at their purest state. Flip it as you day go by. This complete series was made during lockdown. As I set up a table at home to create room for creativity and mindfulness, I was observing the influence of light and time. I started to paint, not knowing when I would be able to go out again. With of the absence of direct light, I worked with mirrors, dichroic cubes and artificial light sources. The main idea was to capture light at different times of day and interpret these moments with gestures of varying intensity and a dialogue between colors. Much like my own inner dialogue, some days the results were harmonious and some days they were filled with intensity. One of my color theories is about the addition of different colors and their interaction in response to the surface. Colors can have a completely different impact depending on the proportions in which they are used and their juxtaposition. My painting process is about reducing the gesture, by doing the same over and over, until it becomes a choreography, with the gesture as a ritual and a mindscape for both me and the viewer. All these works are made from reclaimed wood, jig -sawed by hand. It is central to my practice to use sustainable materials and to encourage the art world and other creatives to be more sensitive to this subject. Reclaimed wood, hand jigsawed, pigments and acrylic painting, 27x53(cm) 2021 Tel Aviv, Israel Earth Spectrum Part of my process is about metrics regarding climate change. I often look up to maps, facts regarding temperature and evolution. Lately, the temperatures went higher and are causing damages today and forever. According to these studies I develop color palette that represents temperatures, lands, or width of damage or proofs of the climate and nature observation. At the same time I try to balance the composition to bring some healing and kindness into the painting, for me and for the viewer. I hope that observing this painting can bring awareness to this subject for us. Also I only use materials found in the streets or leftover to build artwork that also intend to be sustainable. Reclaimed wood, hand jigsawed, pigments and acrylic painting, 60 X 120 (cm) 2020 Tel Aviv, Israel SOLD Balancing light and space, observing light with colors, from dawn to vesper. colorfield hard edge painting. Acrylic and pigments on reclaimed poly wood, hand cut. each gesture describe a moment of the day, contemplation and dialogue from inside out. Based on studies about sacred geometry, color theory and Time. Light and space 1, Reclaimed wood, hand jigsawed, pigments and acrylic painting, 14 X 28 (cm) art made during covid-19, Tel Aviv, Israel,2020. Rainbow circles Balancing light and space, observing light with colors, from dawn to vesper. in this dark times of our lives, "be the rainbow in someone's cloud" came to me as something very relatable. each gesture is related to circle art, light and space, and colors interactions. Based on studies about sacred geometry, color theory and Time. art made during covid-19, Tel Aviv, Israel,2020. Reclaimed wood, hand jigsawed, pigments and acrylic painting, 15 X 30 (cm) Blue like an orange while the second lockdown, I was mainly observing light, and time influence, as usual checking maps on NASA and other databases to observe nature and human influence on Earth. Realizing that our actions had so much influence on habitat and also inspired by different social movement here in Israel and around the world. according to all this, I developed a palette, and then create a pattern, reduce the gesture for each layer until there is no surface to paint. I wish the viewer can enjoy it as a meditation perspective to establish with the outside world, in lockdown or not. create a colorful bridge between tangible and intangible. this one is based on simple color harmony of complementary colors, blue and orange, slightly creating gradient, as a light tunnel going inside out. Light as this unique perception that we all relate and can perceive differently depending on where we are, and when. intangible moment of hope consumed at the same time as we enjoy it. Reclaimed wood, hand jigsawed, pigments and acrylic painting, 15 X 30 (cm) Light Arrhythmia It’s always in dark times that you find a breach that lead to a new exit. Accepting vulnerability, doubt and failure was a journey but today I feel it’s a great relief. Sometimes the perception of light, inner or outside ones were difficult. Each step of the journey is giving a new halo on the destination. I think the different movement and harmony created during this last period were a new leap in this direction. Reclaimed wood, hand jigsawed, pigments and acrylic painting, 15 X 30 (cm)

A little bit of history to learn more about Bauhaus, origins, timeline and founders The Staatliches Bauhaus commonly known as the Bauhaus (German: "building house"), was a German art school operational from 1919 to 1933 that combined crafts and the fine arts.[1] The school became famous for its approach to design, which attempted to unify the principles of mass production with individual artistic vision and strove to combine aesthetics with everyday function. The Bauhaus was founded by architect Walter Gropius in Weimar. It was grounded in the idea of creating a Gesamtkunstwerk ("comprehensive artwork") in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture and art, design, and architectural education. The Bauhaus movement had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Staff at the Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, and László Moholy-Nagy at various points. Bauhaus founder Walter Gropius (1883–1969) The school existed in three German cities—Weimar, from 1919 to 1925; Dessau, from 1925 to 1932; and Berlin, from 1932 to 1933—under three different architect-directors: Walter Gropius from 1919 to 1928; Hannes Meyer from 1928 to 1930; and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Although the school was closed, the staff continued to spread its idealistic precepts as they left Germany and emigrated all over the world. Hans Emil "Hannes" Meyer (November 18, 1889 – July 19, 1954) was a Swissarchitect and second director of the Bauhaus Dessau from 1928 to 1930. Between 1919 and 1921 Meyer completed planning the housing estate "Freidorf" near the Swiss city of Basel. In 1923 Meyer co-initiated the architectural magazine 'ABC Beiträge zum Bauen' (Contributions on Building) with Hans Schmidt, Mart Stam, and the Suprematist El Lissitzky in Zurich. Meyer's design philosophy is represented by the following quote: "1. sex life, 2. sleeping habits, 3. pets, 4. gardening, 5. personal hygiene, 6. weather protection, 7. hygiene in the home, 8. car maintenance, 9. cooking, 10. heating, 11. exposure to the sun, 12. services - these are the only motives when building a house. We examine the daily routine of everyone who lives in the house and this gives us the functional diagram - the functional diagram and the economic programme are the determining principles of the building project."(Meyer, 1928) Walter Gropius appointed Meyer to replace him as the school's director on 1 April 1928. Meyer continued with Gropius' innovations to emphasize designing prototypes for serial mass production and functionalist architecture. In the increasingly dangerous political era of the Weimar Republic, Dessau's Mayor, Hesse, alleged that Meyer allowed a Communist student organization to flourish and bring bad publicity to the school, threatening its survival. Hesse dismissed Meyer as head of the Bauhaus school, with a monetary settlement, on August 1, 1930. Meyer's open letter in a left-wing newspaper two weeks later characterizes the Bauhaus as "Incestuous theories (blocking) all access to healthy, life-oriented design... As head of the Bauhaus, I fought the Bauhaus style". Ludwig Mies van der Rohe (/miːs/ MEESS; German: [miːs]; born Maria Ludwig Michael Mies; March 27, 1886 – August 17, 1969) was a German architect. He was commonly referred to as Mies, his surname. Along with Alvar Aalto, Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is regarded as one of the pioneers of modernist architecture. In the 1930s, Mies was the last director of the Bauhaus, a ground-breaking school of modern art, design and architecture. After Nazism's rise to power, with its strong opposition to modernism (leading to the closing of the Bauhaus itself), Mies emigrated to the United States. He accepted the position to head the architecture school at the Armour Institute of Technology (later the Illinois Institute of Technology), in Chicago. Nowadays, you can find in many cities, contemporary surroundings, extension or repetition of Bauhaus Architecture, Bauhaus design and also in Fine Arts. As many Artists part of Bauhaus escaped or left Germany to survive and continue to create, Bauhaus grew in many countries and fade in urban landscape. Some places host gems of architecture, design and carry the history of Bauhaus in our daily life. Here's some Bauhaus Buildings that are In Tel Aviv Bauhaus Architecture in Brazil: Bauhaus Architecture in Japan: Now that you are familiar with the Bauhaus Style, can you identify around you bauhaus design, bauhaus architecture, or inspiration in your city or even in your home? Here's some of my works, paintings, art prints, objects and designs inspired by Bauhaus: this is a selection of my analog works, some are listed on Saatchi, you can start collecting and learning more about my work: -my website: https://www.jessicamoritz.com listed artworks : https://www.saatchiart.com/jesmoritz This is a selection of some of the prints available, you can order them here this link will give you a discount: collect Jessica Moritz Art prints on Society 6 if you have questions, want to order a special commission, or collaborate you can send me an email moritz.jessica@gmail.com