Ish Gordon gives us a glimpse into the stormy, complex and evolving relationship with his artworks.
This exhibition presents a collection of selected works from the years 1973- 2015. The exhibition allows us to get to know his rich contemporary world, while retrospectively looking at a number of works as landmarks from the past.
Gordon's artistic career begins somewhere in the 1970s, when he was a young soldier. Gordon won first prize in a young artists' competition with his Cubist style painting “A woman and a Guitar" under the influence of his first spiritual mentor- Pablo Picasso.
As he grows older, Gordon's style is reshaped and changed by other influences, cultural contexts, and artists such as Egon Shiloh and Gustav Klimt, who influence his mood and development as an artist. Over time his unique language crystallizes. And in the past decade, after many years of traditional drawing and painting work, along with his daily professional work as an artistic director and graphic designer, Gordon becomes acquainted with the charms of technology and develops unique painting techniques in digital art. Thanks to these and his talent, he wins the 2012 Wacom drawing competition and a year later he is invited to represent Israel at an international exhibition in Cannes, France.
The present collection presented in the exhibition, focuses on three main themes: portraits, landscapes, and women - mostly erotic. We will sin if we do not admit that the eroticism, passion, fervor and emotions are present, live and exist in any of his creations, whatever it may be, while Gordon skips with rare virtuosity among the various media.
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. A striking example can be seen in the portrait “A man's head," which has been reduced to a single spot and line - single patches of color, and a number of swift lines bursting in dance and the act of love by a brush stroke.
Alongside the traditional painting materials, Gordon is one of the pioneers of digital art in the world. He uses the digital brush in a way that is freed from the chains of media and allows a visible expression of his imagination and strong desires. The painting is so free and full of depth, that in a first look at his digital paintings, it seems that this is a "classic" painting painted with traditional tools. Gordon succeeds to surprise with his digital painting, which is not technical and accurate, and gives us a kind of "Trompe-l’oeil" experience, momentarily. In his digital painting - "Tantalus's Punishment" - for example, the object of seduction is presented - a lush woman, stretched out in a red dress with a barbed wire around her, which prevents possible contact.
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.
Written by Nurit Tal-Tene - Curator