Red Grey is the longest-running series in the studio. Eight canvases at the moment, each composed of torn photographic fragments of the human form, suspended in fields of gestural red paint on grey. Originals — one of one. Mixed media on canvas, hand-finished.
The colour choice is not symbolic. The red is what the body looks like from the inside; the grey is what it looks like from outside, in the weather an Ashkelon afternoon makes. Both are accurate. Together, they are the work.
The series questions inherited norms of masculinity through vulnerability and exposure. Each canvas takes a photograph the artist made, tears it, and lets the gesture of the paint complete the image — refusing the cleanness of the photograph as the last word.
