“Rock, Paper, Scissors” / Rotem Amizur / 2019

The world that Rotem Amizur creates is at once chaotic and harmonious. In her order of creation, first comes color, then form, and only afterwards does the entire composition come into being. Areas of color deconstruct into particles of painted, cut paper, which are reassembled into non-uniform painterly surfaces, some cut, others whole, in a layered, stratified work. The meticulous craft of reassembling the compositional fragments is complex, while on the other hand, it is an automatic-emotional action characterized by painterly charisma integrated with stream of consciousness and energy.

Façades of building, interiors, women, and objects in a still life – all of these characterize Amizur’s oeuvre. They form the world that she observes, and they alone are what she chooses to describe through the prism unique to her. She has created her own singular language, which flirts with the art languages of Braque, Picasso, Matisse, and others. Her language is personal, firmly rooted in Amizur’s “here and now” – the environs of Haifa all around her, her art influences and training, and her own home.

Amizur’s background stands at the intersection of her studies in figurative painting and contemporary conceptual art. Her integration of the two creates a synthesis in her work, reflecting her rare ability to observe, read reality, and translate it outwardly into an art language. This is perfected, sensitive observation, unlike any other. Her work exposes the process of creating art in a sincere, direct way without the slightest bit of beautification or needless refining. Amizur states quite openly: Our gaze is always partial and limited. Consequently, there is only one remedy – art. This limitation is also her strength; reality beaks down, and the deconstructed reality is then reconstructed.  Her art action is the only recovery from the deconstructed state in which we live.

Rotem Amizur heals us with her art because what she provides viewers with is – consolation.

Sari Golan
Tel Aviv, 2019