'Painting Outside the Box' by Ilan Vizgan The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all A poem by Nathan Alterman/ summer celebration Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements. Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point. Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia. The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings. In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites. The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.
Famous Israeli woman Mirit Ben-Nun decorative modern art was created by artist Mirit Ben-Nun in 2020. This art piece , which is part of the Ink and markers on paper portfolio, is a Paintings artwork. The style of this artwork is best described as Expressionism. The genre portrayed in this piece of art is Fantasy. The artwork was created in Ink. The size of the original art is 35 (cms) H x 25 (cms) W.
Words which artist Mirit Ben-Nun feels best describe this work of art are: israel, famous, markers, ink, paper, acrylic, woman, painter, drawings, paintings, .
Mirit Ben Nun
Born August 8, 1966
These paintings express a personal need to delineate images and fantasies abundant with color and emotional explosion. Signs, lines and the materials appear of their own volition and develop as an external language bridging the eye, the hand and the painted surface.During the making of a painting the power of the shapes emanate from an unconscious and concealed inner dimension. Line by line, painting after painting while repeating shapes and patterns, a creation evolves into new shapes and patterns. With a determination that reaches obsession, Mirit Ben-Nun keeps on returning to her art of meticulous decoration. A strong presence of primitive ornamentation provides the artwork with a tribal facet on one hand and a feminine touch on the other, encompassing embroidery, bead threading and weaving among others. Ben- Nun’s beautifying urge carries within it an archetypal strata, mythic at times, which empowers her authentic expression.
Dr. Gidion Ofrat and Ami Steinitz