Born in France in 1959, Israel Feldmann studied painting and sculpture at the École des Beaux-Arts in Paris. He then moved to Israel, where he has developed a unique abstract and contemporary artistic language with a deep knowledge of art history and technical form. He uses raw pigment, natural materials to create textured frames that seem to have a life of their own.
Letting the paint guide him through the process, Feldmann cleverly disguises his hand in the work as if the paintings happened by chance. He shares his personal questioning on our current world, touches our interiority, sparks a reaction with a true respect of our freedom.
Every picture is a message which offers the possibility of an inner experience. Intensely personal and yet accessible, Feldmann’s work explores the sense of creation and existence. His exhibitions in Israel and recently in the US awarded him a great recognition.
Between 1978 and 1983, he studied Painting and Sculpture at the French Ecole Nationale Supérieure des Beaux-Arts in Paris. He was accepted in the Atelier of renowned sculptor Etienne Martin and benefited of his personal supervision during four years. He also studied engraving and printing at the Beaux-Arts.
In 1983, Feldmann moved to Jerusalem (Israel). He became a member of the Association of Israeli Artists and was named Arts Director of the YAKAR Cultural Center. With Rabbi Dov Berkovitch, he opened a Beit Midrash for artists to study Talmud through the eyes of an artist. Attendees include painter Asher Dahan, painters Michael Segan Cohen and David Rakya, winner of the Jerusalem Literature prize Beni Shveli, writer and philosopher Nadine Shenker and many others. He organized two festivals of Israeli poetry with concerts and exhibitions.
In 1985, Israel Feldmann presented his work at the Artists’ House of Jerusalem and was granted an award by the Israeli government in 1991. Arts critics recognized his value: Dr Gidon Ophrat (Jerusalem Voice in 1985), and Dr Pesia Madar in 1989. Since 1990, he exhibited in France, Netherlands, Germany, Belgium and his hometown of Jerusalem. In 2016-2017, Hechal Shlomo Museum, Jerusalem, offered him a three months prestigious solo exhibition.
In 2018 he decided to exhibit his work in the US : New York Chelsea, Miami Art Week, and Artexpo New York in 2019. He works now with ArtProductions NewYork and has a long list of coming exhibitions in 2020. In Italy, in 2019, he exhibited at Palazzo Ca’ Zanardi during Venice Biennale, and he participated to Firenze Biennale.
I have no interest in decoration. I paint to express, to convey, to offer him who looks at my paintings what I carry inside: a creative force, a bringing to fruition that comes from the depths of my humanity, from my spiritual core. For each artwork it is a sacred, mysterious experience, beyond words, beyond thought.
I do not create in an intellectual, conceptual manner. I create because I bring a creation into the world, one that has its own identity, like a living force that brings it to life in an autonomous way, once it leaves my brushes. That life comes out of me, but exists by itself. It reveals itself to the spectator like an existential encounter. We speak from heart to heart, from humanity to humanity, from profundity to profundity. There is no place for reflection, only that raw impact from one humanity to the other.
And everyone recognizes that signature that touches, reaching the innermost of existence. I am religious, and any friend of the Bible will find numerous references to the creation; the word of God fills my life. But everyone can enter this exploration and explanation of our intimate and spiritual core.
Like all that is living, my paintings are coherent, structured. Life, dynamic, is moving, and has a density. The very elaborated matter is the fruit of years of experiments and continuous risk-taking. This bringing to fruition can never be controlled like a technical process, even with much expertise. I am the guardian of this life that seeks to get out.
Giving material form to a spiritual life pertains to a work process that is very demanding, technical and contemplative at once: that life is very fragile and could disappear with the slightest error. I see it develop in my studio, sometimes I worry for it and do not stop unless I feel that it is strong enough to leave me. I look at it from afar, from close up : its structure supports those two views. I feel when the painting is finished, it speaks to me. I can put down my brushes.
Its force does not diminish with time, on the contrary. The material I use and particularly the lime and the pure pigments are alive. They begin their mutual life, their dialogue, once in contact with the medium, whether it be canvas or plywood. I have never felt the need to return to a canvas to work on it again.
I love the idea that my paintings evolve with time. I notice the changes which, for the most ancient paintings, spread through decades. They are evidence of the existence of an internal, autonomous life in each of my canvas, whose birth I have contributed to, but which do not belong to me.
To immediately separate myself from my paintings is more difficult. I love that they keep me company, to enjoy their presence, and with wonder, to discover things within them I did not know I had put there. But like for a child, who, one day, will have to leave to pave his own path, it is time for them to continue their lives under a sight other than my own.
Copyright © 2019 ART PRODUCTIONS NYC - All Rights Reserved.