"Until the age of 20 I painted women without breasts, because I was afraid of my mother's reaction"
Probably the need for freedom, rubbing against the borders, provoking prohibitions and the need to dare and cross them- are the leading driving force in my artworks.
There is a reasonable chance that I am endowed with a split personality, since even though I am a very sensitive and refined man, I dare in my artworks to defy and touch controversial points.
My fields of creation are diversified - music, painting, sculpture, photography. But you can say that today I am mostly involved with painting. There I find a great way to allow my feelings to be freed uninhibited, to be absorbed into the colors on the canvas, and let the audience look into my inner soul, exposed and without protections.
Three main themes are evident in my artworks: abstract landscapes, portraits and feminine erotica.
It is not easy to explain the elation that I feel when I look out into the open space, listening to the clatter of the sprinklers on the furrows and enjoying the curves of the green hills. Life in the Valley of Jezreel, brought me back to the landscapes of childhood in Yavneel, and with them an abundance of abstract landscape paintings.
My curiosity about human beings takes me back time and time again to draw portraits - to touch the emotions and personalities of people, most of whom I do not even know.
The need to paint is often due to intense inner turmoils that occur in me - passions, memories, dreams, shaking experiences that are released into the body of the creations.
During the painting I allow myself absolute freedom, with no logic. The creation for me is a very sensual, passionate, erotic experience. I flow with anything that happens while making love with the colors on the canvas. The element of randomness, lack of control and freedom are those which guide my work process, and I often allow the brushes to paint instead of me.
I enjoy new and strange experiments - painting with a wood skewer (which the line produced by it is difficult to control), painting with the non-dominant hand and more. Sometimes I choose to start with an insignificant scribble using a big brush or with bare hands. There, in the chaos that was created, I discover myself in new and wonderful worlds.
I also do not restrict myself to a specific material. I allow myself to paint in a variety of materials and integrate them - oil paints, acrylics, Gessoes, pencils and pastels, combined with Ready-mades and Assemblage.
In the recent years I have also been painting with softwares of Photoshop and ‘Coral Painter’ using a wireless pen and Wacom board, and sometimes I combine a classic drawing with a digital painting - I prints digital paintings and paint them with a material, or take a photograph an artwork that I started with oil paints, upload the photo to the computer, and continue to paint it digitally.
In 1973, when I was a young soldier, I won first prize at a national competition for young artists. It was a cubist-style painting 'Woman and Guitar' influenced by my first spiritual teacher - Pablo Picasso. Through the years, as a result of influences, cultural connections and artists such as Egon Shiloh and Gustav Klimt, the style of my painting has freed up and has become circular and flowing and a new language was formed - a personal style that allows great expression to the line, which over the years has become a central and dominant component of my artworks.
Rapid drawing and daring coloration are prominent features in his creation. On the one hand, his works are rich in materialism, adhesives and layers of color that are placed on the canvas, layers and textures reaching the complete creation. Such are, for example, some of the paintings of the characters, women and landscape, which are of a lyrical and emotional nature, characterized by an expressive emotional outburst that combines a delicate erotic expression. On the other hand, there are also thin sketches that make do with a few lines, but are full of emotion and power.
single patches of color, and a number of swift lines bursting in dance and the act of love by a brush stroke.
The women in his works receive a central dimension - sometimes they are presented as mothers who hold their children tenderly, sometimes they are lush and seductive, sometimes thin and bony, but are often presented exposed, desirable, and are not maintaining eye contact. Their pelvis receives a strong emphasis and their curly hairs are deflected sideways defiantly. Gordon does not see himself committed to outlines or to any particular idea of the female body painting. With sensitivity and great love he touches the soft outline of the woman's body revealed to him. For the most part, he does not paint them by observing the model, just as he does not paint his landscapes and other portraits from a direct eye look at the painted object. His paintings burst into the canvas as a direct expression of intense emotions and desires, which seem like an act of love with the artwork itself.
(From the curator's words - Nurit Tal-Tene)