Jewish Artist: The Sheepfolds of Ygal Ozeri

The sheepfolds of Yigal Ozeri

A woman in a white dress is sitting on the floor, two others approach each other in an attitude more loving than friendly. Everything stands far away from urban civilization for a communion with and in nature. From then on, the narrations of Yigal Ozeri (born in Israel and New Yorker by adoption) become daydreams through a paradoxical technique: hyperrealism.

So much so that, from a distance, each painting could be taken for a photograph, so precise is the painting. Although the artist is inspired by photos and videos (among others by Mike Jagger’s daughter Lizzie), everything is taken up in a discreet and rural eroticism.

Yigal Ozeri suggests the desire for orphaned and often sapphic caresses in the name of the tumults that each canvas breathes by offering greedy promises with the same appetite as a dew-worthy birdie in front of charming vermicelli.

Proof that erotic painting allows to attack social norms and constraints to renew the reflection of a feminism paradoxically proposed by a man. Painting nevertheless remains placid: too much perhaps in view of what it is rowing. And this is the limit of the work.