I must confess it is all that I have learned across a lifetime of trying to unravel the pure magic of a simple line drawn across a blank piece of paper.

While time is a concept that humans created, art, on the other hand, actualizes a time that exists outside of time. It articulates the notion of the inceptive moment. The hieratic quality of narrative history and pictorial art implies a connection to origin, a parallel between the tradition of remembrance and the revival of memory. The works in the exhibition question the conditions of the appearance of an image in the context of contemporary visual culture in which images, representations, and ideas normally function. By examining the ambiguity and origination via an interesting and ancient story of uncertain origin, “The Crossing of the Red Sea” 1250 BC, as part of the biblical narrative from the events of the Exodus, and while visually referencing the history of the diptych (15th and 16th century) in European art—from the coincidental and unexpected connections, these unrelated aspects lead to surprising analogies.

By studying thematically interrelated material and by applying a poetic and metaphorical language, significations and content merge to the extent that the ideas are so integrated into the process of the composition of the work that meaning is shifted, and possible readings become multifaceted. Such metaphors of well-known tropes merge, and the past and present fuse which is by being restricted in time, neutralized in a way that is much more intense, allowing the more dramatic retelling of an ancient story. The possible seems true, and the truth exists.

The works are drawn reflections upon the art of painting itself: that we see our own world mirrored and not the worlds of the past or of some other space or culture. Hoping that through this fusion process, our sense of our own horizons is deepened. Ours is the only time that any of us will ever know at firsthand, uninterpreted through the eyes of historians.