Bitya Rosenak was born in France but grew up in Israel. She lives, works, creates and teaches in Jerusalem. She is part of a post-modernity whose roots can be found among others in movements such as “support-surface”. But she has taken up the data of such advances which now date for a “reshaping” of art through various types of meshes and grids. The creator is inventing a new type of myth for art.
On the background of each design and painting appear scrambled patterns and scaled “skins”: they seem made to pierce that of the unconscious. The lines and scratches are held as if they didn’t want to be let go, so much so that a story would still want to hold them back. Sometimes they become stronger but lighter. It takes this “ exagération ” to signify that by an intensity a world made of wanderings is created where language imposes itself in the system of re-presentation that emerges from a deluge, emerges from chaos.
The forms speak for themselves to open rather than close where everything is bristling with lines that can sometimes form a mist. Thrown on the support, the drawing has the strength to compensate for the lack of our era deprived of myths. From then on, it is the pure plastic language that inscribes a legend that words no longer betray. All that remains are “doodles” that are less confused than they seem. Dubuffet’s “Hourloupe” is outdated.
Here there is insistence, delicacy for a hold and a flight where the drawing becomes not a frieze but a choreography. Everything plays between the stagnation of landmarks, birth points and dynamism based on a game of recovery to go from the closed to the open in a succession of creations. Each time Bitya Rosenak invents new precisions and other reversals.
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