The absence of locale, time and narrative in Pini Ezra’s new works allegedly suggests that these are abstract works presenting basic artistic elements such as: line, color, and composition.

A closer look reveals this is not the case. The driving force behind the works are mentally subconscious layers, and as a result, the artistic style is not the essence in of itself but rather sets as a background or is used as a vessel to convey connotation. Feelings of convergence and restraint emerge from the works magnified by the monochromatic pallet of grey and matte-black, like soft music playing a single note.

The will to refine the ideas and reveal their true essence is evident, like the sound of deep silence that penetrates deeper than the sound of speech. In this regard it resembles Zen paintings. The structure in Pini Ezra’s works has great significance. It is connected to the fact he is also a sculpture but, in my view, the works’ construction is a subconscious way to oversee and contain it; a way to introduce order into the chaos and control the deep and sweeping emotions.