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Good morning everyone, thanks for inviting me.
I wanted to show sketches, most of them are not architectural,
but more... things you do with a small cup of espresso
in a small cafe, in some small town in France or Italy
and almost not in Israel, I don't know why.
For me, the most important thing in drawing, apart from the espresso,
is good paper, very important. Materiality. Paper.
For me the kind that absorbs ink, that if you hold the pen too long you get a blot,
these blots are very beautiful,
a fountain pain or felt tip,
like in the past, a hundred years ago, a felt tip with Pelican ink
which sometimes drips
You hardly need more than that.
So in Italy
how can you not be impresses by these cypresses and buildings
The projector is too strong, it lowers the resolution too much
For me drawing is an act of observing.
Already from a very young age I understood the act of drawing as an act of looking.
You simply sit for ten, fifteen minutes, that's how long it takes, half an hour,
and look, when you draw you also look, then you see things,
suddenly you see the relations between this mass and that mass, the proportions of the windows,
which for me doesn't work at all with photography.
I photograph it, ok, photograph it and forget abou it.
But with drawing, it's simply completes observing.
And this for me is it's great value.
San Gimignano, the towers, their proportions,
Sienna of course, the famous piazza,
suddenly you realize the great height,
if you don't know that's the tallest tower in Italy, I think 125 meters
Florence, if I'm not mistaken.
A zoom-in, to show you again the materialiy,
the expansion of ink in the paper,
you can't see here the paper texture, rough Indian paper,
these materials are very important, very important.
This is me in action, age 5.
This one. I have been drawing since I can remember.
Nice, Miriam's Kindergarten.
I have a series of places in Tel Aviv,
which later on led to a series of paintings.
Borochov street, where I live.
By the way, this is an area before the Geddes period
and in spite of that it's a good area
of these buildings which have now grown to 6-7 floors, dense,
but still extraordinary [urban] fabric
so different kinds of expressions I made of it
This crane, Randy, I think is one of your buildings,
which was in the background,
And this is a small Bauhaus building just opposite our building
and look how much around it grew twice [as high]
and still it is a wonderful fabric.
And this is how it was expressed in one of my paintings
and there's a part close in
You see you can see this part expanded
almost abstract
and gives this cubism which even exists in Tel Aviv.
Another sketch, too bad it doesn't come out well in the projection.
This mixture of buildings, and a cypress here and there.
This is made from a relatively higher floor, the fifth floor,
you see differently from there than from the street level.
Another look.
A sketch which later on led to this painting
which was at the exhibition [at the ZEZEZE Gallery] six months ago
What white city, right Sharon?
The black White City, sometimes grey
with her compositions, here a palm tree and there a cypress,
which is in my eyes beautiful.
I also try water colors occasionaly, and this is again a roofscape,
sometimes between the white-greyish buildings
someone hangs not far from us a red or yellow bed sheet to dry.
and it suddenly throws a stain of light between the buildings
Wonderful.
But for me one of the most interesting thing is faces
alost that's possibly the most difficult.
I far from presume to claim that I know how to draw faces
Yifat, my partner, and I were in Porto,
this happens to be portraits made in Porto, Portugal
We went around the flea market there,
there's a huge, infinite flea market
there were characters there... everyone who comes and looks
takes a stolen photograph of them from the side
Characters, hard working people, people with a story
I don't know the story, but
I got, I recreated many faces afterwards
As if... I started seeing the topography of the faces
Like Randy, you talked about Jerusalem, the human face also has a topography,
mountains, and hills, and valleys
and sometimes, by the way, one wrong line
and you're done. And there's no way back.
We know that [Nahum] Guttman corrected his drawings with what they used back then
Tip-ex on the screen, yes.
But really in drawing, sometimes this one line and you mess it up
so you need to know when to stop
That's true. In painting class they always say
'stop, you're starting to ruin it.'
So here's an elderly person, I began to understand the structure
perhaps the structure of his face as surfaces and surfaces
and so on, and I developed it in other sketches
It also came out in some paintints I made. Thank you.