Keren

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Your work often explores the duality between close-up and distant perceptions. Could you elaborate on how you approach this contrast in your creative process?

My work indeed plays with perception. One question arises: What do we see when we look? From a distance, we see abstractions, but as we approach, a more figurative reality emerges, creating a reinterpretation of the image. The forms transform into human, vegetal, or organic figures. So there is a duality between what we think we see and what we discover when we get closer. Isn’t this like our own existence? We shape our understanding of the world through apparent certainties that often fade away once we take the time to observe and delve deeper. What we thought was reality sometimes turns out not to be. My work is an inquiry into perception, questioning our own beliefs and confronting us with our existential uncertainty.

Keren | 5-2bleu

How do you decide when to use abstract forms versus precise, detailed representations in your works?

My work is primarily autobiographical. I don’t consciously decide to use abstract forms or precise representations; it imposes itself on me depending on what I feel at any given moment. So, emotions, memories, and perceptions guide me.

In your “Géométrie des corps” series, you investigate the geometry of the body. What inspired this exploration, and how do you think it challenges traditional representations of the human form?

This series is autobiographical. I question the interpretation of the body by detaching it from its organic aspect. I deconstruct it, fragment it, and reassemble it to create a new language. The body becomes a letter. A sign. These signs are complementary and create geometric shapes. A new construction, a fresh start for a new chapter in life. I explore geometry to find a visual language. The desire to deconstruct the usual perception of the body and rethink it as an entity in itself. So at first, there is the woman, then the man, and then they combine and interact, transform, and recombine. This challenges the representation of the body by dissociating it and playing with the boundary between figuration and abstraction. By fragmenting, repeating, and associating the forms, I seek a language where the body breaks free from its boundaries to create new geometries. The fragments follow each other, and the difference lies upstream, in the couple that precedes the image but also in what follows beyond the image.

Your exhibitions have spanned various locations such as Paris, Ashdod, and Miami. How does the cultural context of each city influence your work or how it’s received by audiences?

Wherever we travel, we end up with ourselves.

Keren | 7-1bleu

How does your artistic process involve the concept of perception as a dynamic and shifting experience, especially with your work that changes depending on distance?

The play between distance and proximity brings us to the following question: How do we perceive the world? It is a dialogue between what we see and what we understand, between the intimate and the universal, the fragment and the whole. Perhaps it is through this movement that we come to develop meaning. My work is an ongoing questioning where perception is always in motion. Seeing up close, seeing clearly does not always mean understanding. Sometimes distance provides space to read and rewrite the world around us.

You’ve exhibited in numerous prestigious galleries. How do you view the role of galleries in bringing your work to new audiences and fostering creative exchange?

I have been working with Lelia Mordoch for 20 years, and I am deeply grateful for her commitment to artists. She takes care of everything and creates the link between my work and the public. My nature leads me to retreat; I prefer to let my work speak. Galleries play this mediating role. Without them, our work would remain in the shadows. They provide a framework and allow the artworks to meet the public. I am not one for words, but thanks to Lelia Mordoch, my works have traveled.

You work with a variety of forms and techniques, from geometric abstraction to corporeal imagery. How do you feel these different approaches contribute to your overall message?

The different series are tools that allow me, in different ways, to question how our gaze transforms reality. Geometric abstraction creates a visual language that prompts reflection on the underlying order and structure of our world, while corporeal imagery questions the relationship between the individual and the world, between the interior and the exterior. These combined elements attempt to redefine boundaries and push their limits, and it is through these different approaches that art allows us to attempt to unite this duality. We can also try to rewrite our own stories, leaving room for our personal interpretations. Isn’t art also meant to harmonize opposites?