Beware of Artists by Eva Defeses

They may show you who you really are

The fact that an artist like the Spanish photographer MIEDHO would have been burnt at the steak in the glorious times of the Spanish Inquisition is enough to make me curious about his works. The fact that in 2010 an artist like MIEDHO still faces a negative reaction from the public because of his “dark”, “gothic” works is troubling. Haven’t we been able yet to see through the stereotypes? Haven’t we learned that art should be loved for art’s sake and that the purpose of art is art itself?

Beauty is in the eye of the beholder, indeed. For I see true Beauty in the photographies of this young Spanish artist who breaks all rules but the artistic ones. MIEDHO’s photographies show an ellaborate research work, a solid pictorial knolwedge as well as a bewildering sense of creating beauty by mixing colours and textures.

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INTERVIEW WITH THE ISRAELI PHOTOGRAPHER NATALIE SCHOR by Eva Defeses

Natalie Schor

Natalie Schor

E.D. You studied Art History at the University of Tel Aviv. Why did you choose Photography and when did you discover the magic of the photographic art?

N.S. I was already a student when my boyfriend, Sharon, bought me a digital camera for our fifth anniversary. I started to take my camera almost everywhere I went, catching things that seemed to me interesting enough, without directing or planning ahead. Soon, I fell in love with this occupation and began taking basic photography classes, honestly I have never imagined this would turn out to be my dream…

E.D. Your photographies are glimpses of reality. What do you take in consideration when you shoot a picture?

N.S. The technical aspect is secondary to me. Firstly, I concentrate on the topic, the original situation. I love a theme that conceals a story, while it aims at something I can relate to. Clearly I make sure there is  proper lighting, and I choose to place the object in the most interesting angle possible. The tendency is of course interesting colors that attract the eye.

E.D. You grew up in a family that values art and culture, surrounded by beautiful art objects. Do you think that this has forged in a way your path in life?

N.S. No doubt about it. I grew up in a family that loves and respects literature, music, and fine arts. My father is an art collector and my mother has a gifted talent when it comes to designing and drawing. Art books on the shelf and paintings on the walls drove me to love and curiosity. I tried my hand in several areas (guitar, poetry, and drawing) and among all these, photography suddenly became the most dominant and appealing to me.

Natalie Schor: Photography "The Old City"

Natalie Schor: Photography "The Old City"

E.D. Do you prefer working with people you know or just with complete strangers in the street?

N.S. As I mentioned, I do prefer the reality that surprises me (which means, to be somehow involved with people you do not know… snap shots etc.)

Of course I’d love to photograph people who are close to me, whom I can share my vision with. But, in general I am a very easy person to get along with and completely open to new ideas and new people.

Natalie Schor: "Orient - Occident"

Natalie Schor: "Orient - Occident"

E.D. Your photographies always have titles. Do you think the titles help the viewer understand your own feelings towards the photography?

N.S. Yes. Although I agree some photos don’t need titles. If you look at a photo called “Untitled”, you can have a personal interpretation, or… the photo simply speaks for itself. Nevertheless, just like in a painting, the artist feels the need to make a statement, to pass on a feeling, an opinion, or an idea. My perception is: a title can help you “see” better and it can equally destroy…However, I still prefer a title.

Natalie Schor: "Life as a Metaphor"

Natalie Schor: "Life as a Metaphor"

E.D. Let’s take:”Life as a Metaphor” for instance. The title gives us a clue towards the meaning of the photo. Can you offer more insight on this specific title / picture?

N.S. It’s a daily scene in a public place. The characters’ position can perhaps indicate their importance, or status in life. I saw humor but also sadness. The attitude of the characters, lost in a surreal setting… metal sky, earth made of stones, and the people trapped in between. Lighting also has an important role, and it creates a separation between the characters. Many titles ran across my mind, but  I finally chose this one, which directs you to a deeper observation, and can be understood in several ways.

E.D. Your photographies are surrounded by a melancholic air, they seem to bring together 2 separate worlds: one of innocence and childhood and the other one of bitterness of a somewhat regretful adulthood. As a young, emerging artist do you find yourself in the middle of these 2 worlds?

Natalie Schor: "Cosanzeana"

Natalie Schor: "Cosanzeana"

N.S. On the one hand I still feel sometimes as a child even though I am almost 27. I feel some of my photos come from a very naive place. On the other hand, I am very connected to the seriousness of older people, because I find it very real. There is a whole life behind them. So much experiences, pain, joy, loss. Something you can see in every wrinkle, every look, and it touches my heart in a way I can’t describe. These two extremes are supposedly not related, but they are…

E. D. “Sleeping birds” is an obvious allusion to Mihai Eminescu’s poem. Do you find inspiration in his poetry?

Natalie Schor: Photography "Sleeping Birds"

Natalie Schor: Photography "Sleeping Birds"

N.S. When I was a child, my grandmothers used to put me in bed and sing this song to me. They knew many Mihai Eminescu’s poems by heart. This is why the title came to me quite naturally. If I look at a photo I have just taken and it may suggest a name related to a poem, well, it turns out to be a very satisfying moment for me. Robert Frank (Such a wonderful photographer) said: “When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice…” if I could reach that, nothing can be more fulfilling.

E.D. “Dialogue of the deaf” is another well-chosen title, full of subtle irony. Thinking about this picture, do you believe your artwork should express something, have an objective or do you just value art for art’s sake, only for aesthetic principles?

Natalie Schor: Photography "Dialogue of the Deaf"

Natalie Schor: Photography "Dialogue of the Deaf"

N.S. This photo reflects a situation that exists in Israel. I won’t go into politics, but there is a feeling of irony and disappointment implied. I chose that name because I couldn’t think of anything else to symbolize the situation. Two completely different worlds, yet they suddenly appear before you for one moment, something you don’t see every day. My intention is to give a photo a few layers, I wouldn’t want it to be just a “nice picture” to look at. Even when I photograph still life, I try to give a sense of depth, and I wish I had always succeeded in it…

E.D. Some of your photographies seem to disclose a pictorial approach (Sleeping birds, Tribute to Magritte). Do you take interest in other art forms, like painting for instance?

Natalie Schor: Photography "Tribute to Magritte"

Natalie Schor: Photography "Tribute to Magritte"

N.S. The painting domain is no stranger to me. I do try to render my photos a rich pictorial language. In the university, I learned about different streams in art, to analyze works of art, the laws of perspective, light and shadow and composition. Somehow, I may instinctively translate this knowledge into my photos.

Natalie Schor: Photography (Eternal Eve Exhibition)

Natalie Schor: Photography (Eternal Eve Exhibition)

E.D. What are your favourite artists (not only photographers)?

N.S. So many! But here are some of the most prominent of them who receive my highest appreciation:

In painting: Renne Magritte, Joan Miro (I simply adore Surrealism) Reuven Rubin (his paintings are literally pure serenity), Baruch Elron (who was a friend of the family), and Corneliu Baba (I find his portraits excellent!).

Natalie Schor: Photography "No Longer a Saint" (Eternal Eve Exhibition)

Natalie Schor: Photography "No Longer a Saint" (Eternal Eve Exhibition)

In  photography, it is extremely difficult for me to say, since I love so many. I noticed I am mostly attracted by (how not surprising) daily street scenes, and photos in black and white. Some of my favorites are Henri Cartier-Bresson, Richard Avedon, Helen Levitt, Chema Madoz and Dorothea Lange. I also love photo-journalism very much!

E.D. Thank you.

http://www.flickr.com/photos/natalieschor/

Art and Physics in Tel Aviv

Friday, September 25th 2009, the Cultural and Artistic Association New Vision from Tel Aviv, organized the debate Art and Physics, presenting the works of several artists who found in science the greatest source of inspiration, among them Romeo Niram and his series of paintings Brancusi E-mc2. The  works of Romeo Niram were presented by the journalist Eva Defeses.  The motto of the debate was “Revolutionary art anticipates visionary physics” , from the famous book “Art and Physics” by Leonard Shlain.

Romeo Niram - Art Physics in Tel Aviv

Romeo Niram - Art Physics in Tel Aviv

ERAN EISEN: Fashion, Art Humour Interview by EVA DEFESES

ERAN EISEN is a poet, artist, graphic designer, International model from Tel Aviv, Israel. As a model, he is best known for campaigns made for L’Oreal, El Corte Inglés, BMW, etc. In Israel, he founded an Image Consulting Company “Present You – Image & Branding Advisors”, that uses a personal, direct and unique approach in order to give each client tailor-made consulting in presentation, image and communication. This multifaceted Israeli published his first book of poems in 200º, “Between Us”, which tells in short and inspired verses his views on love and relations from a biographical point of view. The book is divided into 3 parts, each part referring to a different period of his life. He is currently working on a cultural project called “Positive Israel”, whose objective is to create a positive, realistic image of Israel, to facilitate the access to cultural and artistic aspects of nowadays Israel. www.eraneisen.com

Eran Eisen

Eran Eisen

Do you see fashion as a form of art?

Yes, I do. Dressing is a code of communication and as such it reflects our expression.

Can you describe from an artistic point of view the experience of haut-couture fashion shows? Many designers put together magnificent shows which go far beyond exhibiting nice clothes, light, music and special effects being carefully chosen to create surreal atmosphere that unites several art forms in a unique, breathtaking experience.

Haut-Couture is defined as the artistic side of fashion. It is where the designer is able to perform his real creativity with which he identifies himself. Putting on haut-couture clothes is a unique experience. Everything feels in place!! It has changed my perspective on clothes. It made me feel incredible inside, I’m wearing a statement.

What about Israeli fashion and designers?

Israel hardly has fashion because the climate does not allow it and since there is no demand for it on a daily basis… To say the truth I’m not familiar with young designers here. Personally I love Italian Design; Armani is my favourite because the classic design appeals to me the most.

How are fashion shows regarded in Israel and what are the possibilities for young designers to study and evolve?

There is one school of Fashion Designers in Israel and each year they present their final creations to the people in the industry. The shows are funny, creative, interesting and exciting (I did myself a few). It is very hard for young designers to develop here as the Israeli market is very small. In order to grow you must have a strong sponsor to support you financially and strategically. The only ones that succeeded to do so were wedding-gown designers or swimwear designers. In daily fashion I can only see one young designer that has made it: Yaron Menikovsky.

Do you think Israeli artists and writers are known in Europe, are there difficulties in getting on the worldwide stage?

I believe that every artist wants to exhibit his art beyond the borders of his country. Once you have created a work of art it does not belong to you any more, it has a life of its own. I don’t see any difficulty in being an Israeli artist and getting world recognition. There are some Israeli artists that broke the Israeli wall. Yaakov Aggam and Kadishman, painter and sculptor are known worldwide for many years. Efrayim Kishon, a writer was famous in Germany and Austria. Ron Arad is very successful with his chairs. Politically, there is always a chance that someone might make you problems for being Jewish or Israeli.

What about the art scene of Tel Aviv (exhibitions, art shows, museum, galleries, art magazines)? In a previous issue of Niram Art, we published an article about the Artist’s village Ein Hod, really a unique way of living and producing Art.

Israel has lots of artists. The stress we live creates the urge of expressing ourselves in all forms of art. Tel-Aviv is the centre of the activity for Art Galleries and I see, as time goes by, more and more galleries opening. Personally, I have learned that most artists have difficulties in promoting themselves (marketing) but it is essential to brand yourself as an artist as well if you want your art to be exposed and sold. I agree, Ein Hod is a special place, I have been there many times and it always seems to be expanding.

You worked as a model for El Corte Ingles (among many others) in Spain. How would you describe the Spanish way of life and society as opposed to the Israeli?

There are some similarities between the Israeli and Spanish people. They are both very warm and “hugging” and family-oriented. The Spanish have more “style” in their daily behaviour. We are also both hot-blooded and can get angry easily. The “Siesta” part of the Spanish way of life should be adopted. On my first day in Madrid I took a taxi. The driver almost ran over a young boy with a scooter. He stopped the scoter in front of the Taxi, blocking us, took his helmet off and without any hesitation broke the driver`s window. Coming then from bombed Israel, made me feel like home.

From your numerous contacts with Europeans, do you think they have a pretty good idea about Israel or are they totally clueless?

Personally, I feel at home in Europe. I’ve been travelling for twenty years all over the world, always keeping my Israeli identity. I was constantly requested to tell people about Israel from my own perspective and felt it was my duty to do so. My feeling is that: either you are an open-minded person that can have a global view or you are not. Israel has been suffering from bad PR for 60 years. It is our own responsibility to change it. My personal commitment is to build a “Positive Image” of Israel. You can have a real idea about something only once you have experienced it. Europeans that come here love the vitality, the human warmth and the warm weather of Israel. The ones that haven’t been here are exposed to the Israel that is shown in the news or TV programs or other sources of information and they are individually building their own Image of Israel in their heads.

What is the funniest or strangest thing that someone asked you about Israel?

Someone asked me once if we travelled by camels here. That was funny for me. And here is a symbolic joke: The teacher entered the class in the USA and told the kids she had a question of a 100$ prize for them: “Who was the most important person in Human History??” The first to answer was Joe: “George W. Bush my teacher”. The teacher said very nice Joe, really important person but not the most important. The second to answer was Jenny: “Napoleon Bonaparte” my teacher. The teacher said, yes he was very important, Jenny, but not the most. The third to be answered was Mike: “Alexander Mukdon” he screamed. The teacher said you are right Mike he was important but not the most. Than Moishale raised his hand and said: “It was Jesus Christ” my teacher. The teacher said Moishale you are right and you have won the 100$. But Moishale, I must ask you something, you are Jewish, so how can you say Jesus Christ was the most important person in Human History. Moishale smiled and answer her: My teacher, in my heart I know it is Moses, but business is business!!

Dear Eran, thanks a lot for your patience.

The Infinite Sadness of the Hebrew Language by Eva Defeses

Being only an adventurer at the beginning of my journey into this world of mysteries that is the Hebrew Language, I will not try to give any explicit information on its history, development and grammatical singularities.

All this is available in professional terms in many books and freely on the Internet and I would only copy the words of the specialists.

I will neither speak about the hidden “information” – numerology and the Kabalah. The Bible’s code – in Hebrew, of course – is another example of the obsession that the study of this language may generate. For this, you can also use Google or the Discovery extensive documentaries on it. I have never been attracted by numbers, only by words and sounds.

We all speak of ART, Literature being one of the known forms of art (I say “Known” because the future may reserve us many discoveries in the artistic field, too), Music another one. Between the Word and the Sound, there stands the Image – the “fine arts” of painting, sculpture, photography and so on. Man has always tried to put his thoughts and feelings in images and sounds since the early days of the cave drawings and rudimentary musical instruments.

But we often forget the primordial form of art, sadly seen today only as a speech mechanism, a tool of communication, something less artistic because of its utility. Isn’t language a form of Art? Today, there are thousands of languages in the world, ancient or more recent, each and one of them beautiful and exciting.

Let’s take Romanian, for instance, the proud descendent of Latin. Let’s not pay any attention to its complex grammar neither to its never-ending synonymic rows. Just listen to the flow of the language, at night, in a recited poem perhaps. The melody, the arid impact and trepid stop of the words speak of its Mother Latin. Phonetically, when listened carefully, Romanian loses its Slavic sweetness or its Italian-style operatic melody and drapes itself in the austere cloak of the grave, imposing Latin. When combined with the vivid idiomatic expressions that give Romanian that sarcastic, humoristic personality or the tragic tone of the Romanian mourning chants, the result is Music and Literature combined, the folkloric poems of “Mioritza” and “Master Manole”, with their heart-aching rhythm and dramatic plot being the perfect example of the splendor and power that this language is able to convey.

Each language has gathered throughout the centuries its own artistic treasure, musically and poetically, that now reflects itself on the personality of the people who speak it and on their artistic creation. There is an interesting connection between language – personality – art. We, men, have created the language. But can language influence our own creations and personality?

Greek is another language that attracts our imagination, mostly because of its ancient philosophy and literature. But the Greek language is, even in the contemporary form, pure Art. The music of the Greek language is one of Humanity’s greatest achievements. Listen to the Orthodox Resurrection Chants in Greek and any other language, for example. Or compare “Hristos anesti –Eleithos anesti” with “Christ has risen. He has truly risen”. After peeling off the first, more “visible” and beautiful aspect of the language – its phonetics or “its music”, we venture deep inside it: the Greek language is a land of metaphors and innuendoes, the word formation mechanism is often based upon an idea, a piece of philosophy, a poetic feeling. By studying Greek, one learns Philosophy without further need for references. It is an intricate language that still holds within it the perceptive way of thinking of its genial ancient speakers, a language that holds the code for a new “Dialogue” within its Morphology and Syntax. But Greek has other unknown qualities, like its tendency for reverie and romanticism for instance, which is impossible to suspect at first glance about the language of the rigorous Orthodox Dogma.

English is one of my favourite languages because it has the unique ability of condensing the essence of a whole phrase into a couple of words and of expressing a meaning in one word better than many other languages in ten. English – from England – still walks in the Romantic beauty of Byron’s poems of “cloudless skies” without losing the intelligent, clear-cut irony of Oscar Wilde.

So many languages, so many ways of making music, so many “living”, every-day poetry…Uncovering the secrets of a language is a voyage deep into the ancestral soul of its people and learning about the history and personality of its speakers right from its pulsating heart. But there are languages that even today remain an unbreakable puzzle, like Euskera, the language of the Basques from Euskadi, whose ancient origin loses itself in the past, a unique language that bears resembles to no other on the whole Earth and cannot be categorized by the specialists.

Amidst all the languages of Mankind, there is one that stands alone. Shy, like a veiled virgin of fairytales, the Hebrew language does not like to show off. Although, “she” has written the most important Book of all times and although many of us, Christians and Jews alike believe it to be the language chosen by God to speak to us mortals, or that it is the language of the Son of God Himself, the Hebrew language has remained a hidden treasure, the locked garden of Shir HaShirim, the beautiful bride whose beauty must remain under closed doors. It is the never-ending love story between God and Man, the primordial Kiddushin…
Hebrew is a language of infinite sadness; its music is a desperate prayer, an incessant Psalm. It is the remembrance of the tragic cry of Adam when he lost his Paradise. The mourning for Eden is touchable in each Hebrew word. Like a painting of a sad Angel, his wings broken down, Hebrew is faithful only to its prophets who cried to the Lord in the desert.

Maybe it is the only language “infinite” in interpretations and meanings. Trying to learn Hebrew is losing oneself in an ocean of mysteries, where nothing is certain, everything changes by virtue of occult forces. It is a language which refuses to be learned, a moving territory of semantic sands where Fata Morgana reigns. She gives you the illusion that you have learned a word, that its meaning is certain and there can be no confusions. The victory is short-lived, the meaning changes, fluctuates, refuses to be embraced by your eager memory. The grammar rules are created only to be broken, to confuse you. There are more exceptions than words that obey the rules. Nothing is what it seems to be. It is not a game, there is nothing playful about this language, Hebrew does not play hide-and-seek with you. “She” simply refuses you. “She” escapes, with all her mysteries, leaving you with the sad, bitter taste of a love that could not be, of a beautiful woman that could not be kissed, the enchanting trace of her perfume still lingering behind her. Enraged, you extend your arms, trying to capture her, she runs away, sending you only a tragic glance with her dark, beautiful eyes. You are left alone, her scent all around you, the sound of her silver bracelets still tinkling far-away…a glimpse of what could have been and was not, like the final “h” in many Hebrew words, silent but present, impossible to pronounce but hauntingly beautiful, the sad whisper that lingers on, after one has pronounced a word. A native Hebrew speaker, trying to explain the mystery of this sound, told me once that it is like a “delicate sigh that loses its echo in the distance”.

Sadness is perhaps the most difficult feeling to understand. You can conquer rage, fury, you can play with indisposition and with bitterness until they turn sweet but you can never conquer sorrow. And perhaps nothing touches us, humans, more than sadness. A sad film, a sad painting, a sad photography can bring tears into our eyes in a second. Every act of creation is an act of sadness. Art is not a vibrant triumph, it is a constant reminder of our miserable mortality, of the death of so many great people, great creators. Nothing has remained after them, apart from a piece of a symphony, a scratched painting or a ragged book – their art, just to be appreciated for a split second by other people who will also perish.

Art gives us the illusion of immortality. It is the agonizing effort of the man who refuses to die. Hebrew has not forgotten this, it gathers within it all the laments of its dead-ones, and it refuses to let them go. The constant remembrance of all its beloved who passed away and the eternal struggle against mortality that Hebrew puts up give this language that distinctive dramatic tone. It is the sadness of a language that is conscious of all those who spoke it, who loved one another whispering it, who prayed using its words and are not here anymore.

A continuous Kaddish, Hebrew fights for us all – so that we should not be forgotten. When we are long gone and buried, we will all be remembered in the aching consonants of its melody. Like a mother, “she” will pray for us all, asking God to release us from our mortal destiny. If one day Man reaches immortality, it will be thanks to the constant, desolated prayer of the Hebrew language, the only one that dares harass God, “demanding” our freedom as persistently as Abraham once did for Sodom and Gomorrah.

Proud daughter of Israel, “she” doesn´t lose herself to the passing moment of contemporary intercourse, like American English for instance. It is a language of love and intimacy between a Man and his God, between a husband and his wife, the never-ending mystery that still binds together the first khatan and his kallah, a realm of private thoughts and feelings meant only to be whispered. Even the word for “love” (“ahavah”) is sad in Hebrew, holding within it the desperation of the parting moment of death. In English, we say “Till death do us apart” at weddings. Hebrew is also aware of the parting moment but it refuses to let go. It is from the scattering pieces of the broken glass that we shall be once more recreated. The lamentation of the Hebrew language that struggles for the immortality of mankind stubbornly and dramatically, trapped alone within its beloved labyrinth of memories, will someday be our salvation.

A definite argument in favour of the mysterious abilities of the Hebrew language is the Spanish novel “Don Quixote” by Cervantes. The pearl of the Spanish language and literature holds within it many treasures for the Hebrew-speaking people.

An erudite Jewish father with a taste for stories and a romantic character used to reward his children with chocolates for each chapter of “Don Quixote” that the little ones read. The intention deserves praise, the result however was not the expected one: the elder son found the box of chocolates in his parents’ room, where he was not allowed and Don Quixote was given a break.

However, this short and true story demonstrates the affinity of the Jewish soul to Don Quixote’s personality. Almost all names of persons and places in the book are alterations of Hebrew words, the author hiding in this way his Jewish origin, in the dark ages of the Spanish Anti-Semitic oppression, but leaving behind him constant hints of his origin. In the light of the Hebrew language, Don Quixote suddenly shines differently and his tragic and obstinate refusal to give up his dream seems more comprehensible, being far most adequate to the unyielding Jewish soul than to the vibrant and “caliente” spirit of the Hispanics more given to quick-ending passions. The Hebrew messages encrypted within Don Quixote not only certify the author’s origin but may also be the key to the correct understanding of the character. Just like the Hebrew language, Don Quixote wouldn’t give up his dreams, his stubborn fight against all the Evil in the world being only a continuation of the essence of the mother-tongue of the author. And what has happened to the disobedient elder son in the story? Just as his father had predicted, he eventually fell in love with Don Quixote, of course.

True only to itself, Hebrew remains an enigma. It is the only language that refuses to name its God. Hiding behind its many faces and meanings, Hebrew knows how to remain silent and let only the soul speak. The invisible forces that attract and disperse its masculine, persistent consonants and its feminine, floating vocals have constructed a language governed almost by scientific rules. The written contraction of the words with illusive vocals and the later expansion of them in pronunciation, this constant tension, is similar to the physical forces that created the Universe. The written words are masculine, only consonants, the pronunciation is vocalized, thus feminine and the direction of writing, from right to left, aims specifically at our heart; with each written word, one gets closer to the heart, at least physically speaking. Hebrew wants to teach us again, by the continuous tension and attraction between its strong consonants and its mysterious vocals and by making the heart the final goal of the written existence of the words, the Lesson of Love. Without the feminine vocals (that have just a hint of visibility in the written form) the words couldn’t be pronounced. The tough, imposing consonants cannot live without the “invisible” vocals. Only the vocals can give life to the masculine written words, or maybe both of them united can give life to each other in a continuous charge and discharge of energy. They cannot exist without one another, only together can they give life to the language. And thus, Hebrew pulls down the veils from the most ancient love-story; we are brought to the dawns of mankind where the first woman was called “Life”, created perhaps when the first man tried to cry out his loneliness with the first word. The constant hide-and-seek between vocals and consonants in Hebrew is the hide-and-seek between man and woman. Hebrew shows us two essential ingredients for a perfect union: the importance of the feminine, mysterious and undisclosed but present and life-giving, and the importance of paying attention to the attraction and distraction forces – creators of that specific amount of tension able to generate never-ending passion. Like the continuous coming and going of the electric circuit, necessary to create the electric sparkle, the contraction and expansion of the consonants and vocals of the Hebrew language teach us how we can make our love eternal. The Physics rules that Hebrew uses are the rules of Love.

As Christians, we are baptized with names of Hebrew origin that make no sense for us and we bear our names throughout all our life unknowing its mystic meanings. Hebrew may help us learn a lot more about ourselves if we have the patience of discovering it. Religiously, it is only in the light of Hebrew that Christian terms like “Amen” or “Alleluia” start to make sense, bringing fresh clearness to our prayers. Language of the Jewish people, Hebrew belongs to all mankind; we are tied to it by invisible chains that only our souls can recognize. Didn’t we all speak Hebrew in Eden?
In the infinite sadness of the Hebrew language we discover ourselves and, slowly, the memory of the Lost Paradise returns to our souls.

If Art is man’s best way to express his feelings and ideas, than the Hebrew language is one of man’s best artworks.