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Jewish Art Gallery

Title: "Shalom"
Technique: mix media on canvas including oil & collage
Size: 41" X 35" / 105X 90 cm (framed)
Price: $ 2000 (shipping not included)

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at your home in 72 hrs in any place in the world you are,
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The Jewish Art of Bernard Korzeniak
by daniEL I. Ginerman, Israel

Just stand, and let one "Shalom" of Bernard Korzeniak wrap and envelop your mind. Let the rhymes of his brush talk to you about parallel orders of letter and colour, that recite the infinite dimensions of the labyrinth of life."Shalom", in Hebrew, will find its root in "Shalem", that means "complete". The Hebrew Shalom disregards leaving anything of this world outward: it isn't built through the extinction of the evil forces, but through their conversion to the right, through their turning into good.

Just stand in front of Bernard's "Shalom", attend to it's symphony, and learn the harmonic rhythm of a world that pulses in plenitude.

Shalom is the greatest responsibility of the Jewish artist. Bor-e Olam created the world, and lent to it form and substance. Finally, He created Adam to have him complete the work, to have him connect and reunify up and down, matter and spirit, and produce Shalom. Tools and materials in our hands, the whole world as a fantastic atelier in which we are called to recover the primary form of the sacred, Bernard's "JRSLM": the Jerusalem that is born from the inside of a violin that protects her, adorned by a mantle of letters, while a dialectic blue-blessing sun thickens the vital dream to convert it into place, space, sensitive reality that imposes itself upon all the grayscales of life. When you have Jerusalem built of letters, protected in the soul of a violin, you have the Shalom that our artist got permission to divine, and drawn for us in every piece of the forms of his light.

Synesthesia is a fundamental part of the Jewish artist's work. Bernard's pictures talk, grieve, dance, sound like violins or flutes, like war trumpets and like the Shofar that claims with us for Redemption. A "Chamsa" concentrates all the movements that the rest of the gallery will reveal, like an Overture that will be enough for the wise to passionately dare into the rest.

Adagios motivated on the calm perception of indigo and violet, shaking out to be displayed as light of abundance between the fingers to be flowers, to be fishes, to be earth and the Leviathan and the sea to behave the proximity of heaven, from works as the series "Malachim" that cedes place, pertinently, to the Andante of igneous characters, of sacred light that brings to reality the coronation of Torah protected by diligent lions in every "Aron HaKodesh" of Bernard. A Scherzo of violins drains frightfully along the whole Opus, protecting the sacred inside the walls of white light, unavailable to any attempt of profanation.

As his works devoted to "Shabbat" shine, we see Bernard concentrated in the arch, knitting an Allegro vivant on the chords of his palette of all the colours. The fish, symbol of abundance, lays on the violin that becomes a table ready for the celebration of art and life. The Hebrew word for "fish" is "dag", which numeric value is 7: the number of the completeness of Creation brought to plenitude in every candle of the Menorah, when all the musical notes are active and present, and there is no colour lacking of the rainbow that God gave men as a signal of Shalom, the Shalom of Shabbat, of the Queen that spreads the honeys of her light in our world.

In Hebrew, the word for "artist" is "Oman", which root refers to "Emunah" (faith) and "NeEmanut" (fidelity). The Oman is who assents, from his transcendental work, in the secret of the "Amen" that completes the "magnum opus" of Creator. The numeric value of its root (aleph-mem-nun) equals to the value of "MalAch": the angel that serves in firmament, and from there, attracts inspiration and abundance for the people that inhabit the Earth.

And this is exactly the issue we are talking about: Similar to the image and the resemblance of Bor-e Olam, the Jewish artist is the "Iotser", the Former that shapes and takes the mission of re-ligating the worlds: from the apex of the human scope, relaying hands and wings with the angels, to throw a beautruth bridge over the abyss, and bring us back to the real Light that will redeem us from our chains. Welcome, then, to Reality, from the most deeply optimist point of view that you have never dreamed to live: from the fixed life-building work of Bernard Korzeniak.

daniEl I. Ginerman
Jerusalem, Israel.

Biography & Exhibitions

The Korzeniak's Jewish Fine Art are shown in galleries, cultural centers, Jewish Institutions Jewish Museums, and public & private collections in: Israel, Canada, USA, Mexico, France, Brasil, England, Argentina and Uruguay. Korzeniak was born in Uruguay 1971. Studying and researching Art, especially Jewish Art, Graphic Design, Architecture, Photography, Art History, Sculpture, Painting, Engraving, Music and new technologies on Digital Graphics since 1979. Starts art studies in Montevideo, Uruguay at the Clever Lara Studio, Arditti Studio Art Club, Berta Fernandez Musical Center, Violinist Liber Fernandez, and later intensifies art studies through travels to museums in all the World.

2005 Exhibition "A Hebraica Art Gallery ", Hebraica Sao Paulo, Brasil

2005 Exhibition Perry Gallery, Binghamton, New York, USA.

2004 Exhibition at Hillel Schusterman International Center, Ann Loeb Bronfman Arts Pavilion, Washington DC. Sponsored by the Uruguay Cultural Foundation for the Arts and de Embassy of Uruguay in USA.

2004 Exhibition at Bodzin Art Gallery, Jewish Community Center of North Virginia. Sponsored by the Uruguay Cultural Foundation for the Arts and de Embassy of Uruguay in USA.

2004 Exhibition at Uruguayan Embassy. Washington, DC. USA. Spo nsored by the Uruguay Cultural Foundation for the Arts and de Embassy of Uruguay in USA.

2003 Exhibition at Alliance Francaise, Uruguay.Sponsored by the Embassy of France, Alliance Francaise and the Culture and Education Ministry of Uruguay.

2003 Exhibition at Uruguayan Embassy. Washington, DC. USA. Sponsored by the Uruguay Cultural Foundation for the Arts and de Embassy of Uruguay in USA.

2002 Exhibition at Uruguayan Embassy. Washington, DC. USA. Sponsored by the Uruguay Cultural Foundation for the Arts and de Embassy of Uruguay in USA.

2002 Individual exhibition at ORT University in Uruguay.

2000 Conrad Hilton Resort Hotel. Punta del Este, Uruguay.

1998 Exhibition at SAI Gallery, Inc. Soho, New York City, USA.

1998 Exhibition at B'nai B'rith Art Gallery, Uruguay. "50 years of Israel State".

1998 Exhibition at Kavehaz Cafe Gallery. New York, USA.

1998 Exhibition at Amadeus Gallery. New York, USA.

1998 Individual exhibition at Cultural Center."La Paloma", Rocha, Uruguay

1998 Individual exhibition at NCI of Uruguay.

1997 Exhibition at SAI Gallery, Inc. Soho. New York, USA.

1997 Exhibition at Monzon Gallery. Tel-Aviv, Israel.

1997 Exhibition at Monzon Gallery. Jerusalem, Israel.

1996 Exhibition at Montevideo Shopping Center. "Jerusalem 3000". Galeria Latina. Uruguay.

1996 Individual exhibition. "Teatro del Circulo". Montevideo, Uruguay.

1996 Exhibition at "Salon de Pintura Maritima". Club Naval. Montevideo, Uruguay.

1996 Exhibition at Cultural Space "Specia". Montevideo, Uruguay.

1996 Exhibition at Parque Hotel. Salon Rotario de Artes Plasticas. Montevideo, Uruguay.

1995 Individual exhibition. Arcobaleno. Punta del Este, Uruguay.

1995 Individual exhibition. Cultural Center "La Paloma". Rocha, Uruguay.

1995 Exhibition at "Paseo de la Matriz" Art Gallery. Montevideo, Uruguay.

1995 Exhibition at B'nai B'rith Art Gallery. Montevideo, Uruguay.

1995 Exhibition at "Maritime Painting Salon". National Naval Club. Montevideo, Uruguay.

1995 Exhibition at "Lara's Atelier 20 Years". Montevideo City Hall.

1994 Exhibition at "Salto Fifth Biennial Visual Arts". National Fine Arts Museum. Salto, Uruguay.

1994 Exhibition at "Maritime Painting Salon" National Naval Club. Montevideo, Uruguay.

1994 Exhibition at Carrasco Naval Club. Montevideo, Uruguay.

1993 Exhibition at "XII Fine Arts Lions Salon". National Library. Montevideo, Uruguay.

1992 Exhibition at "XI Fine Arts Salon" National Library. Montevideo, Uruguay.

1992 Individual exhibition. B'nai B'rith Art Gallery. Montevideo, Uruguay.

1990 Exhibition at "X Fine Arts Lions Salon". Montevideo, Uruguay.

1990 Exhibition at B'nai B'rith Art Gallery. Montevideo, Uruguay.

1990 Individual exhibition. Rocha, Uruguay.

Does a Jewish Art exist?

In my opinion, the definition of "Jewish Art" occupies nowadays not only an artist and a thinker but many of the Jewish communities in the Diaspora, that must face the problem of auto-definition.
Usually it is no a major problem to identify a work to a certain cultural group. No doubt that a French author, writing what he may, by writing in French and from his "national" experience, it is part of what is called "French culture/French art; likewise, the so-called "religious art" -although being international- does not present a problem of characterization. In this case the definition arises from criteria solely thematic. The Jewish artistic and cultural production, on the other hand, is not easily categorize. The paradox of the subject resides in the centrality of the questioning. It is important to keep in mind that the Jewish artistic production does not exist in purely Jewish terms, specially when relates to a Jew in the Diaspora. In most cases, he not only identifies with the cultural Jewish tradition where he comes from, but sees himself as an integral part of the national context that surrounds him. As shown before, it is not just an intelectual game. The cultural production is one of the essential elements in configuring an identity (national, religious, communitarian, etc), is one of the expresions that allows distinguishing one group form another, one culture from another and from this its importance for the Jewish people.

The history of Jewish art

The history of Jewish art as well as the history of religion, people and Jewish traditions, involve mant places and periods. Since the Diaspora, Jews always lived in the civilization of others people. Thanks to a mixture of biblical laws, Talmud instructions and constant evolution of points o view of Rabinical authorities, Judaism always incorporated influences from the societies where they lived. Sephardic Jews develop traditions different to its contemporary Ashkenazies of Eastern Europe and we are all Jews. In the same manner, Jews bring to their art the same diverse cultural influences. The forced migration produced an impressive variety of artistic manifestations. Unfortunately, persecution and dispersion through history resulted in loss of many works. Much of what is left is found in decorations and ceremonial objects. My search as a Jewish artist starts with the analysis of the second Commandmen. The second Commandment reads in part. "Thou shalt not make unto thee a graven image, nor any manner of likeness". This commandment would suggest that Jews should not produce art of any sort. Opinions in this respect has changed over the centuries. Until this century, it was believed that Jews did not represent the human figure up until the Middle Ages. Although in 1930 murals were discovered in the "Dura Europos" synagogue of the III century in Syria that dispelled that belief and gave new credence to the concept of Jewish art. These murals show scenes from the Bible in human figures. And include a representation of the hand of D's, that could be the start of the tradition of using hands for protection by the Sephardic Jews. Close to the Middle Ages, it was common to illustrate manuscripts like Hagadot for Pesaj, Ketubot (matrimonial contracts) and even the Bible. In some cases, human heads were replaced by heads of animals, specially birds .

About my Work

It is said that the work of a painter is the light of his soul. As a Jewish painter, my Neshamah (soul in Hebrew) could not but reflect the light of so many teachings about life and Jewish traditions learnt from my parents and Jewish studies. My works are the result of analysis and permanent investigations on themes of Hebrew symbology and kabalistic concepts from where emerge images of the fabric of signs and symbols contained in a web of personal narrations.

The process of creation
After reflecting and investigating each theme, I start the search of materials I could use for my work.
Fabrics, specially transparent and laces, give me sensation of antique, of history as well as give transparency and connotation of lightness. Because of this, I generally apply this type of material to the upper part of the composition, leaving an area on the picture where the eye of the observer can find an area of rest as well as rich in textures. On the rest of the work, I would use papers of different textures and specially Israeli periodicals in Hebrew, giving an interesting texture and also a conceptual element. Finally, in my compositions appear important symbols that identify the Jewish culture and at the same time identify me at my most intimate, such as: The city of Jerusalem, The glass of wine, The Challah, The violin, Talit, Hamza, The Jewish wedding, among others. It could be said that these plastic constructions are self-portraits, not because they represent morphologicly my physical characteristic, but because the images created speak of my person in a profund and intimate sense, of my Neshamah.

Bernard Korzeniak


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