Yigal Ozeri is an Israeli artist, best known for his hyperrealistic and cinematic portraits of women in vast landscapes. Thousands of tiny brushstrokes animate his beautiful Photorealistic paintings. His compositions are seductive, ethereal, and compelling.
“New York City based Israeli artist Yigal Ozeri is best known for his large-scale cinematic portraits of young women in vast transcending landscapes. His near photo-realistic oil paintings convey the spirit of his subjects in a grand array of natural settings: from abundant rain forests to dreary deserts. Thousands of tiny brushstrokes animate his lifelike paintings, giving way to a remarkable realism, distinct beauty, and seductive power. Ozeri seizes fleeting moments and gives them life. As a result, the viewer is compelled to gaze into the allegorical domain between reality and fantasy. Ozeri has shown extensively around the world including solo exhibits in Bologna, Barcelona, Los Angeles, Toronto, Hong Kong, Amsterdam, France, Denmark, and Munich. His work is included on the cover and in the book Photorealism and the Digital Age. He is currently in a traveling show titled 50 Years of Hyperrealistic Painting that was showcased in a number of venues including: Museum Thyssen-Bornemisza in Madrid, Birmingham Museum & Art Gallery, and Museo de Bellas Artes in Bilbao. He is also in the permanent collections of: The Whitney Museum of American Art, The McNay Art Museum in San Antonio, The Jewish Museum in New York, The New York Public Library, The Israel Museum in Jerusalem, The Tel Aviv Museum of Art, The Frederick R. Weisman Art Foundation in Los Angeles, and the Albertina in Vienna, among others. He is represented by Louis K. Meisel Gallery in New York City.”
“My approach to painting is not so much calculated as it is improvisational. The banal environments I capture come to life due to the beautiful youth that dance at their will. My body of work is illuminated by visceral imagery of dreamscape because my paintings imbue a desire to capture the space between the physical and abstract–that is, a gap in the time equivalent to a complete celebration of the physical form married to nature. My range of work communicates otherworldly emblems that extend beyond the physical human condition–as people examine the painted surfaces, I want them to easily access the texture of the earth, its smell and breath.
My body of work includes the medium of oil paint as well as photography, film, and high-definition digital media as reference material. The idea behind my ambition, however, is not to mirror imagery in the sense that Photorealist painters do, but to capture a space between a high-definition world and fantasy, one that is allegorical in nature. My subjects are to be read as if they were poems, sonnets, and not mortals. To that end, I prefer to keep with abundant detail, intense colors, and complex compositions in a naturalistic sense, and believe my work is inherently influenced by the nineteenth-century Pre-Raphaelite painters Dante Gabriel Rossetti and John Everett Millais, in both process and product.
Like my predecessors, I enjoy exploring the depths of Romanticism and stray from creating imagery with an intention that it will be evaluated from an objective and technical perspective. My vision not only validates the emphasis placed on cinematic movement, but my style is heightened by my belief that the process of creating art is to be taken from the depths of my soul. In that sense, the themes for my paintings are ever evolving, and I will continue to paint the feminine as slipping away from photo-reality and into fantasy. What is more, my work portrays people living in nature without malice, and that is most important to me, and perhaps more radical than conveying themes about destruction.”
-Yigal Ozeri, from the book Photorealism in the Digital Age © 2013
Citation: Bernarducci, Frank, Harris, Elizabeth K., and Meisel, Louis K. Photorealism in the Digital Age. New York: Harry N. Abrams, Inc., Publishers, 2013.
2014 – “Photorealism: The Everyday Illuminated,” Jonathan Novak Contemporary Art, Los Angeles, California
2014 – “Photorealism in the Digital Age,” Mana Contemporary, Chicago, Illinois
2013 – “Triads,” Galerie Brandt, Amsterdam, Netherlands
2012 – “Territory,” Martin Asbaek Gallery, Copenhagen, Denmark
2011 – “Garden of the Gods,” Mike Weiss Gallery, New York, New York
2010 – “Lizzie in the Snow,” Mark Moore Gallery, Santa Monica, California
2009 – “Desire for Anima,” Galerie Andreas Binder, Munic, Germany
2008 – “Yigal Ozeri,” Mike Weiss Gallery, SCOPE Basel 2008, Switzerland
2007 – “Priscilla in the Cloud Forest,” Mike Weiss Gallery, SCOPE Basel 2007, Switzerland
2006 – “Long Island City,” Musée de Lodeve, Lodeve, France
2005 – “New Paintings,” Mike Weiss Gallery, New York, New York
2005 – “Four Seasons,” Tel Aviv Museum of Art, Tel Aviv, Israel
2004 – “Long Island City,” Galerie Heike Curtze, Berlin, Germany
2003 – “The Last Supper,” Galerie Hafemann, Wiesbaden, Germany
2002 – “Presence de L’absence,” Galerie Mabel Semmler, Paris, France
2001 – “Tikkun: The Restoration Series,” Stefan Stux Gallery, New York, New York
1999 – “Deep Storage,” Galerie Heike Curtze, Vienna, Austria
1998 – “Yigal Ozeri: The Grey Series, 1998,” Bineth Gallery, Tel Aviv, Israel
1997 – “Yigal Ozeri, 1994-1997,” Tel Aviv Museum of Art, Tel Aviv, Israel, Curated by Professor Mordechai Omer
1995 – “The Mad House of Goya,” Z Gallery, New York, New York
1994 – “Born-Unborn, Yigal Ozeri and Wenda Gu,” Berlin-Shafir Gallery, New York New York
1993 – “My Library (The Organic Series),” Sala Gaspar Gallery, Barcelona, Spain
1991 – “Decoy, Yigal Ozeri and Michal Rovner,” S. Bitter-Larkin Gallery, New York, New York
1990 – “Matter Becomes Light–Light Becomes Matter,” Mishkan Le’Omnaut Museum of Art, Ein Harod, Israel
1989 – “Yigal Ozeri,” Bineth Gallery, Tel Aviv, Israel
1987 – “Yigal Ozeri: Paintings,” Meimad Gallery, Tel Aviv, Israel