In my work, I am deeply drawn to the interlayer between light and spirituality, exploring how these elements can transform a canvas into a realm of introspection and transcendence. My practice aims to capture the ephemeral qualities of light using it, not merely as a visual component, but as a symbol of inner illumination and spiritual awakening.  Through the deliberate use of colors, texture, and volumes, I wish to evoke a sense of the sacred inviting viewers to embark on their contemplative journeys. Breath between ripples, pigments and acrylic painting on shaped canvas, 2024 presented at Wertheimer gallery, Mute Poetry, group show. Light is a wave, a fast-moving force that offers insight into its origins and the direction in which we are heading. In my work, light serves as both a scientific and spiritual journey. in my daily practice of light observation, I have noticed how it influenced the way I paint or the colors I create. I returned to drawing to reset my approach, focusing solely on shapes to reflect my observations of light. 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). light wave I, pigments and acrylic on shaped canvas, 81x63,5x10,2023 As we face the darkest times in humanity, whether personally or globally, we instinctively seek hope. In times of struggle, I turn to the study of light to guide my practice. 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. Travel within, pigmens and acrylic painting on curved canvas, 2024, Jessica Moritz 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. Before light, there was darkness. So when the light appeared it allowed us to see, understand, and experience life. Look how much we rely on Light to provide for the days to come and stay sustainable. Without noticing, we consider it as oxygen never question if tomorrow or 20 years from now, there will be enough. In that context, it appeared to me that everyone or anyone could be a messenger of light, in different ways. (shamash) Manifesting through different forms, more or less obvious, there are other messengers among us.  On a daily basis, it implies taking time, to observe, collect, and appreciate these intangible manifestations.  The process of translation takes time and involves finding the appropriate format to capture the essence without spoiling the message.  It seems a journey full of light and joy, and may even be seen as an exercise of science.  In practice, it does involve discipline, and a little science to remain objective and precise, but also consider obscurity and shadow part of the process.  For that purpose, it became necessary to think about the shape first to consider the shadows part of the journey.  Some works may become harmonious shapes, familiar ones, and some display, irregular angles, and deflection on this inseparable dynamic.  Nevertheless, enlightenment comes from within. The viewer may be attuned to his vision and connect to its journey or may they be just passing by and enjoying a glimpse of what they carry within.  If you pay attention, you might notice this manifestation, mind the light. Light waves, pigments and acrylic on canvas, structure wood, plywood, and MDF, 2023, 89 X 158 X 10. Wertheimer gallery, Tel Aviv, Israel If this exploration of light, color, and geometric abstraction resonates with you, we invite you to connect with Wertheimer Gallery to inquire about collecting these works or to receive a full listing of available pieces. For those in Tel Aviv, you are warmly encouraged to book a studio visit to experience the creative process firsthand and see these paintings in their true light. Your journey into this vibrant world of art begins here—don’t hesitate to reach out!

Let's start by giving short description of both to give a brief and but clear preview. Hard edge painting ⎮#hardedgepainting Hard edge art is defined by geometric composition, sudden juxtaposition of colors. different surface of colors representing abstract geometric landscape, or for some random geometric shapes. Hard edge painting started in the late 50's by Artists(major figures): Karl Benjamin Lorser Feitelson Frederick Hammersley June Harwood Helen Lundeberg John McLaughlin But remember the Art is also how the viewer and audience perceive it. so the Term Hard edge was first called by Jules Langsner ( Los angeles Times, writer,Art critic, curator). Hard edge emerging from California, USA, circa 1959. The Art world needs a "third eye" to identify art movement, and give guidance to the Audience. Hard edge movement was born in a post modern era, post war, civil rights movement, and of course the Boomers. It's always interesting to juxtapose social and political context to any Art movement, it really can help reading the situation and Artist'statements. In the same period what other Painting movement were starting or beating strong? Abstract expressionism, New york Colorfield Painting (Mark Rothko, Barnet Newmann, and Helen Frankenthaler ) Action Painting (Pollock, de Kooning) Early Pop Art (Eduardo Paolozzi, Richard Hamilton) If you look at the "big picture" you can call it a post war Reaction, healing, and blurring. Each Artist has his own reaction to their daily life and education background. the Fifties in US were seeing the beginning of consumerism, the change in Economy, also reaction to communism, beginning of civil right movements, so many fire to manage, right? Colorfield Art ⎮ #colorfieldpainting Colorfield movement emerged from abstract expressionism before hard edge in the 40's in USA, Britain, Canada, Australia, definitely a more International movement. you can identify colorfield painting by Large fields of colors (solid, splashed, inked, soaked, spray, many techniques. Colorfield painting by Artists(major figures): Mark Rothko Clement Greenberg Helen Frankenthaler Robert Motherwell Barnett Newman Frank Stella Jackson Pollock It is easy to be confused between hard edge art, geometric abstraction, optical art, and colorfield painting. so the question is how do you or can you make a difference? both involve colors, obviously but each of them are using techniques and therefore decisions that makes a lot of difference. Hard edge painting can be figurative and not figurative. Usually hard edge is different solid colors using geometry, architecture, and light. Some hard edge artists use color theory, and some are more "random" and display colors according to what they feel is right or available in the studio. Colorfield artist is definitely a more expressive gesture, close to gestural abstraction, covering canvas, a more physical relation with painting, definitely more related to their inner feelings and Action. Hard edge is geometric, limited surfaces of colors more reductive in the textures and surfaces, exploring boundaries and minimal representation of painting. Where you can see the difference with colorfield, abstract expressionism who is rooted to colors and raw with application. if you want to look deeper in this directions, look for artist studio of each artist, and you'll see that each of them is living their painting fully. It was pretty common to see Pollock throwing bucket, or dripping industrial painting and having some kind of choreography part of his process; it was also very common to have library of colors for Stella, and notebooks about composition or drawing. well, I hope it helps you understand the different use of colors and art movements that keep on inspiring me. I'll be happy to have your own vision or feedback, leave a comment or write me at moritz.jessica@gmail.com To finish, as we are living a very strange period, I was really interested to see what other artists where doing during pandemic, and see new or discover artists that keep on painting and i can't wait to see what the art world will be when this will be over. Be safe, and stay colorful. #hardedge #colorfield #artexplained #modernart #abstractexpressionism #postwarart #geometricabstraction #hardedgepainting #colorfieldpainting #artmovement #artblog

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)

Happy to invite you to the opening of our Summer Show at Wertheimer gallery Thursday, July 18th at 6:30 PM Explore the radiant hues and evocative themes of summer at Wertheimer Gallery’s captivating group exhibition, "SUMMER UNVEILED." Join us for an enchanting evening as we unveil a curated collection of artworks by a diverse array of renowned artists. From the vibrant brushstrokes of Gustavo Bar Valenzuela to the surrealist paintings of Elsa Ers Brosh, each piece offers a unique perspective on the season's essence. Immerse yourself in this celebration of creativity and indulge in the visual feast that captures the warmth and spirit of summer. Don't miss the opportunity to experience art that resonates with the joys and colors of the season. Summer Unveiled Wertheimer Gallery Tel Aviv Participating Artists: Gustavo Bar Valenzuela, Elsa Ers Brosh, Hanna Elan Yones, Micky Goldstein, Baptiste Leonne, Evgeny Merman, Jessica Moritz, Pirsky & Hayat, Daniel Remer, Hen Songo, Furio Torracchi, Miguel Vallinas Prieto. the exhibition is on view until august 31. WERTHEIMER GALLERY Contemporary Art gallery 8 Kikar Plumer St Building 36, Tel Aviv Port, Israel OPENING HOURS Sun-Thu | 10.00 am - 06.00 pm Wed | 10.00 am -  07.00 pm Fri | 09.30 am - 13.30 pm Jessica Moritz, Like a river in the desert, Wertheimer Gallery, tel aviv, Israel Jessica Moritz, Like a river in the desert, Wertheimer Gallery, tel aviv, Israel "Like a River in the desert" explores the journey through the desert as a metaphor for personal and artistic exploration. The desert, derived from the Latin word "désertum," symbolizes abandonment, transition, hardship, purification, and learning. The artist sees this harsh landscape as an essential part of a broader voyage that involves confronting difficulties and discovering new perspectives. In this work, I break away from traditional square formats, moving toward sculptural forms. Starting with a square wooden frame, the canvas is stretched and transformed into various shapes, pushing the boundaries of what a painting can be. This process raises numerous questions about the outcome, sustainability, and the interplay of light and shadow. I embrace the technical challenges and the possibility of failure, viewing these risks as integral to the creative process. Symmetry, palindromes, and reverse mirroring are key elements in the work, reflecting nature's order within chaos, the repetition of intentions, and the exploration of opposites to find balance. Each piece is unique, hand-made, and intentionally imperfect, reminding viewers of the human touch in its creation. Returning to the desert, I reflect on how the vast, empty landscape challenges our city-centric mindset, where straight lines and boundaries dominate. The desert’s emptiness evokes a sense of freedom and constraint, inspiring a vision of balance amid adversity. A river, imagined as a mirage, symbolizes hope and the creation of equilibrium. Ultimately, the artist values the balance found or created through the journey more than the destination itself, emphasizing that belonging is rooted in our experiences rather than the places we inhabit. Other works presented: inquiries at Wertheimer galllery for listing, private visit and commissions at lnfo@wertheimergallery.com

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.

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

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

When 2020 started, I was thinking of new directions in my work, i was working in different projects, involved in my community and i had a lot of work. I promised myself that i would make time to rest, be more sustainable and accept things that i can't change... Well, as you may know, you can plan things, it doesn't mean it will be easy, or that it will happen. On January, I released the Collab i made with Diana Schuemann, A video Project called "Inside Out", shot in Haifa, Israel, November 2019. This project was conceived with the concept of boundaries, pattern and working in the white cube. you can read more about this project here After we release the video, we submitted it to different projects, exhibitions, Festivals. Even if the world was slowly shutting down, the project was screened in many countries, and i am forever grateful to all galleries, organizations and people that made this project alive during 2020. Upcoming ​ ALC Video Art Festival part of the collection "Cigarreras" listed and curated by ACOA (Contemporary artists from Alicante) ​ 2020 V IMARP - Mostra Internacional de Dança - Imagens em Movimento, December 7th to 12th, São Paulo, Brasil IDKF 2020 , Stuttgart, Germany OPAF20 , Online Performance Art Festival Simulacrum at WerkStadt , Berlin Cock and Bull Virtual Festival Dance Days Chania 10 curated by Aliki Chiotaki DRIFTING BODIES / FLUENT SPACES , Walk Lab2pt WHEN TWO BECOME ONE, LOOSE THREADS curated by Philippa Wall, Luke Jones and Faye Golley 'In 24 hours' THE WALL SPACE | SCOTLAND, curated by Ayshia Taskin ayshia.co.uk and [SHIFT:ibpcpa] Screening Inside out, Collaboration with Diana Schuemann : A Fronteira- mostra de videoarte, Rio, Brasil In February, I was presenting the Square collection, 46 paintings (made in January) based on same colors palette, with different combinations, following one of my color theory about surface and color interactions. Tiny Tiny Gallery presents Jessica Moritz, February 2020,18 Florentine Street, Tel Aviv When i started this work, I had in mind that all colors can work together, it all depends on the surface covered and colors properties. I first started to chose colors, and then started drawing with a pencil different compositions and make some color test to monitor the different interactions and select the more relevant ones. As a reductive Artist, i wanted the paintings to reflect the same process, and display colors for purpose. Some of them refer to masters and infinite inspiration, Ellssworth kelly, Donald Judd, Peter Halley, Bridget Riley, or Sarah Morris. many thanks To Murielle Cohen, Artist, Curator for this opportunity and support. Make Love great Again , February 2020, Tahanat Mercazit, Tel Aviv Mati Ale invited me to make some Art in the Bus Station. If you have never been to Tel Aviv, it's a very special Place, The architecture and atmosphere is out of time and thanks to Mati and fellow artists the place is full of Mural art, Graffiti, and other Art project, hidden gem of Tel Aviv. Make Love Great Again is a project i started December 2018, using wheat paste mainly, painted, representing couples from different communities expressing love. All titles are written after a song, and if you happen to see them all, you have a great playlist ;) I collected pictures starting from the fifties to nowadays using google image search and words tagging, such as "couples in love" vintage lovers " lovers together" i always enjoy mix some use of technilogy in my work and be a little random. Even if street art involves the short life option of an artwork it should never lower the quality of it. each wheat paste are hand painted, with the classic magnolia lino print, and mix of layers "Colors, patterns people". Few weeks after installation, lockdown started in Israel, Some sad events happened at the Tahanat, and the piece was destroyed. Still, thanks to Social Media, and other pasted ones in Tel Aviv, and Paris, the message was shared, and hopefully it gave some inspiration to people to consider Love as an option. Picture by Judith Yanos. Meanwhile in my studio, i started to work on the essence of my ideas: Mindscape creating colorfield landscape, based on impossible geometry and color interactions to escape reality. simple and clear right? There is a quote of Bruce Nauman : " My work is basically an outgrowth of the anger I feel about the human condition. The aspects of it that make me angry are our capacity for cruelty and the ability people have to ignore situations they don't like." Looking around sometimes made me very uncomfortable, I am french and Israeli, that doesn't mean i agree or stand for whatever my government is doing. As you can understand the idea of boundaries, territories, limits made me rethink the way i was painting and furthermore, the reasons why i was painting. Slowly but surely i quit painting people; Immerging myself into colorfield landscape, utopia of a peaceful life in Israel (AS If...) I have always been fascinated by laws of physics, and applications in Life. So i experimented with prism, glass, mirror different perceptions of colors and "translated them in painting. About Community, Until August 2020 i was managing The Kiryat Hamelacha Project. My studio is located in South Tel Aviv, a place called Kiryat Hamelacha (קריית המלאכה) where two years ago i started a community project, a website, social media, open studios and different initiatives. After two years, a lot of work, Ten open studios, many hours trying to make things work i understood that it was time to stop. This place is special to me and will always be. May 2020, I finally finished the installation "Dear white Cube", 6 sculptures based on fibonacci sequence for their structures, and optical illusion for the pattern (homage to Escher) using each color as one, representing their spectrum for each of them. Each of them are made of reclaimed MDf, hand jigsawed, painted with acrylic and pigments. square 31 X 31 (cm) Sides : 8/13/21 (cm) Initially this installation was made to be on the floor, and also work with moving lights, to change the shadows of each. After two exhibitions with them, all curators told me that according to Israeli habits, they would unseen and should be on the wall. OK.... you can read more about this work in previous blog post. Random Pattern Memory , collage, Upcycle, Paper weaving and brain teaser. when you get too comfortable with your work, it's time to change technique and approach. Lucky for me, i found tones of paper, different ones, and while i was creating the color palette for the square collection i did some text on them to keep record of it and make some test. I used a very simple technique called weaving where you create a structure by passing in and out alternatively the paper to make a shape of it. I started to stock a nice collections of colors, patterns, textures, spray, line work in my studio. Pilling things can sometimes makes an idea pop up. On the corner of the table i saw three different paper together and realized that was very interesting to use them but it needed to crop, scale, cut, paste, and keep only the best juxtaposition, combinations and make a composition simple but each time different. Some of them are available for sale via #artistsupportpledge on Instagram ( Artist support pledge : ARTIST SUPPORT PLEDGE LTD is a not for profit company in support of artists and makers, founded by artist Matthew Burrows on the 16th March 2020 in response to the Global COVID-19 Pandemic. brilliant initiative !!) During the First Lockdown, i had no idea of how much time we would be home, or the impact of covid in my life or in my country. Whenever i feel overwhelmed, i go back to black. As you may have seen, i usually never use black in my painting (color theory related) so black to me is Ink, and only Ink. I went back to a corpse of Work called Anatomy of an Artist, started in 2018, still on. Artist have a reputation, close to a cliché, being half human, ego issue, daddy issues, if you read everything, we are basically a living issue sign. For some of us, it's true. But let's not go there. Anatomy of an artist is a drawing project i started when i had health issues, that since then have been fixed, and that had a big impact on my work, process and physically made me slow down, or stop for a while. Drawing all this anatomy, with surrealism outcome, has been a catharsis and still is. I wanted to give other dimensions to the vision of people that they project on us, and show to the viewer a new narrative to Anatomy and of the concept of "Being". The Torus Collection. During the Lockdown, in Tel Aviv, Israel, we had restrictions like everyone. 1 km Radius except if you work, you are essential worker, or have an authorization. Also, as many people, I was looking for balance, mindfulness during chaos. i studied colors (again), sacred geometry, physics, Reiki, and this shape was born. It started by small drawings in my notebook, different paintings with more divisions, using time scale and light study with prism to define the amount of colors for each... between first and second lockdown i was at the studio, and started to draw on reclaimed wood new shapes, and prime them for upcoming lockdown. Home, i allowed my kitchen table to become my studio (a little bit less than 2 square meters), this is how you realize what means being a reductive artist. each lines is like ripple, wave is you prefer, working with color halation, using prism or mirror to get real day light in, and fill the room with light. In February, home, I started to see the number of death growing. i was alone, scared, and wandering when will this end and what can i do... In jewish tradition, we use wheat paste or paper slap in a neighborhood to communicate : mainly death announcements to invite people to come to shiva, or to pray. Well, again, i flipped the meaning. i started drawing and then painting shapes, colorful, geometric in my sharp hard edge style, cut the paper to keep only the shape, in order to create a simple but nice optical illusion to paste in urban landscape. I wanted to remind the living ones the simple things, such as being. you can learn more on this project here . Art and Social Media, Instagram The last year, i spent more time on my phone and on social media, like everyone. I understood a lot better how to make the best of it and promote my work in a better way, and most importantly : enjoy it. online,I discovered and connected with other fellow creatives, some also painters, some doing ceramic, some musicians, many talented people and also I was happy to discover new techniques or approach of colors. This year was colorful but also a year where we lost friends, family, being carefree. I am very grateful for the love and support from closed ones, fellow artists, new friends, new collectors, and unexpected encounters. Soon together again, stay colorful and wear a Mask. On instagram follow my work @jeszmo_art Affordable Art Prints on Society6 here Selected works for sale on Saatchi here inquiries : moritz.jessica@gmail.com

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 Swiss architect 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

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

Hello! After a year of chaotic schedule and projects, i want to share with you some tools and perspective that I found very useful in my daily practice. First let's start by Space In this difficult times, not everyone has a studio, or space to create physically. your creativity can have some boundaries, it's up to you to limit or expand them. if you can set up a table, or on the floor some protection and start by having some spontaneous and free drawing, writing and let go the overflow of energy and feelings that you might have kept due to circumstances. journaling is also a great option, same as notebooks, but we'll get there later on;) Since we are home, let's be comfortable. Some people would even find it easier to create in Bed, or "live" from the couch, keep in mind that You are the one to unlock these steps and you do it because you want to. State of mind I Have noticed that starting the day with reachable goals improved my productivity and therefore my work. Scheduling the workflow, having hours for defined goals, time for impro, and moments of meditation have given a healthy state of mind in my journey. You can create a week schedule, a bullet journal, a google doc, whatever you feel drawn to and that you know you 'll follow up on daily basis. Create Goals that are reachable, it's always gratifying to finish a week with some accomplishments, there is benefit for your work but mostly for your well being. Self Care should be on the list, and it can be in many ways: Start the day by 10 min meditation, listen to your favorite band, positive affirmations, cooking, dancing, doing a nap. Keep in mind that your well being is the ground of your creativity, so be generous to yourself. Tools No matter what creative field you are into, there is room for all. Nowadays we are lucky to have access to resources, teaching, learning, sharing, online galleries, online exhibitions and keep inspiration update. Digital Art is also a great idea. Some creatives were digital before pandemic and some discovered a new approach of painting, or developing their practice using digital tools: graphic design, digital photography, 3D, Animation, and other digital forms. Journaling, or having a sketch book can also be stimulating. you can always have it with you and takes note, do a fast drawing, or write about your work anywhere, and keep it for yourself. when you start writing about your work, you 'll see slowly coming a new way to keep the inspiration and organize your ideas. Once again, organizing your ideas can be asking yourself, what are you doing, how, why, and where you want to go with this work. these are big questions, but after many years of making Art, and reading about, i really think that these questions are essentials for having a productive and healthy work flow. Sharing As an Artist, It's great to be part of a community, physical or virtual and connect with fellow creatives, inspire and be inspired. you have many ways of sharing your work, and also it's a great way to connect with buyers, curators and other creatives. By sharing you work, you also will learn to take a step back and look at it in other ways. We all have different vision of our work, some of us struggle with the imposter syndrome, some of us are better at social media that making, some us are amazing story tellers, there is room for all of them. If you look on different platforms, let's see what you can get: Instagram: publishing works, works in progress, educate, learn, connect this platform allow you to publish pictures, short videos, IGTV (more than one minute), live stream, stories (small videos that can explain your practice or show your daily life, or support your branding...) you have many opportunities to use to connect with other creatives and also that people can find you and connect with you. using hashtags, explore, places where you feel inspired can also stimulate you and bring new opportunities. TikTok: sharing process, learn, educate, have some fun with your practice too. Aritst is a job, you can still have some humor with it. Pinterest: Collect, curate, create and boards of inspiration, collection of Art or design that you enjoy, Places you want to visit (when traveling will be available ) Club House: Connect with people around the world the tenjoy Art, or are part of the Art community, give tips, listen to others artists and be Inspired! Goals You set your own goals, so let's reset the expected idea of success, accomplishment and results. Make Room for creativity, start every day with good intentions, put yourself in a safe place that you can allow yourself to make the best of it. feel free to share your creative journey and add your way to be creative in a challenging year. comment or contact by mail moritz.jessica@gmail.com #create #artduringcovid #beinspired #feedyourinspiration #keepon #artinlockdown #motto