The most fundamental motif in artist Pinhas Ezra’s current oeuvre is the line. The line is not sent out into the world from his fingers: the artist is, from the very outset, entirely submerged in introspection. His gaze turns inward, attending to his own self and the sounds resonating from within. Only later is the line sent out into the external world as a line that bears the artist’s expressiveness towards the world, placing it “out there” for us to see.

The work process is, to a great extent, meditative and repetitive. The works are not figurative. Ezra creates a line of introverted structures out of breathing lines produced with high concentration, i.e., with a very high-tension awareness. They therefore express uncompromising existential totality, and perhaps also obliterate all defenses. As I observe the works, I see the resonance of internal spaces of varying volumes on different tensions attempting to represent a wide range of emotional and mental states – through the conscious use of energetic rhythms and vibrations flowing from the works to the senses. Pinchas Ezra draws with his eyes tuned to listening inwards: he listens attentively, experiences, and dreams; he dreams lines.