There is also a performative quality in his works, which becomes clear not only when Linnenbrink pours the resin with its added pigments onto the image carrier, or drills holes in
the hardened paint layers of some paintings.
Not exact matches
Yossifor
paints these works in one shot, until one thick
layer of oil
paint begins to
harden.
Those
layers harden with various thickness and viscosity, the pools of
paint, cracks, and coagulations creating enticing surfaces that capture a delicate relationship between control and accident.
From far away, his
paintings look like collage, which makes them all the more impressive when you walk up close and see the
paint hardened and
layered into and on top of one another.
Gilad Efrat, who lays
layers of thick oil
paint only to engrave within it or the subtract from it, functions much like that ancient writer, who imprints marks by stakes onto a soft mortar plaque, hurrying to affix meaning onto the surface of the material before it will
harden.