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The Blue Hour 1

Abraham Aronovitch began by presenting to me his approach with “ Origin of a Nation ”. First painting that reveals and predicts all the work to come. The palette in shades of blue perfectly illustrates these beginnings whether it is a question of the life of Moses or the artist's pictorial beginnings.

The titles have an important function, they provide the keys to understanding. It is often a question of freedoms. Freedom of expression, freedom under attack, freedom (re) found, freedom restricted… Love is always more or less there, like the hope that humanity will know how to turn away from dangerous paths.

Abraham Aronovich also pays particular attention to his color palette. He indeed develops a parallel between it and his sensations. The choice and assembly of colors contribute to the strength of the paintings. They transcribe what the artist feels, what he wishes to share, because his paintings also materialize his messages. The surface of the canvas is animated by a play of colored vibrations, but also by the formal composition which oscillates between abstraction and figuration. He plays with shadows, solids or even with contrary movements. The subject sometimes seems to dissolve into the matter, sometimes to emerge from it. Sometimes, the artist completes his paintings with an element in volume to go even further in his reflections, with a view to being as close as possible to what he wishes to articulate.

Depending on the topic evoked, we feel a diffuse worry or conversely a form of appeasement. The work of Abraham Aronovich installs us in a humanist vision full of hope.

Leïla Simon, 2020

1 The blue hour is to be heard here as a foreshadowing of the dawn of the day, but also as a small bubble out of time, out of the world (between night and day), a small bubble of contemplation giving free rein to the imagination. .

And here is the text (FR ) by Francesca Biagi-Chai, written for his participation to ''Art en Capital'': "Un Art qui pro-voque"

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