Nae Doresh

This text has to be personal; there is no other way around it for me, for a few reasons:

1. It is known (I think) that I´m not an objective viewer of Mishori´s work – rather an admirer.

2. I find it so hard to write, I am not accustomed to it and it’s harder to verbalise something so
good.

3. My ´´curatorial approach´´ isn´t a thematic/ narrative one, or a project with one hanging agenda –

in the choice of works and their positioning there is nothing for me to prove here – the work is so
good in my opinion, that all I had to do was follow its progress and enjoy the fact that I am lucky
enough to have this opportunity. I am the biggest winner of this show. But the text isn’t about
me….

By work I mean from the obvious; of actually looking at the amazing set of the new drawings, which have been done in the last 2 years (from 2002-2004), to talking some gossip, to discussing hair styles and hair dressers, issues of education and art teaching, and also for me to actually ask ´´how does one start to paint´´ – trying to learn, being amazed and baffled by the act of painting for a long time now.

Those meetings were something between meeting your hero/ idol/ fave pop star in person every week (for me) to something resembling meeting your therapist (for both of us).

Basically, what is most evident about Mishori´s work, and comes the strongest in this new volume of drawings, is that Mishori´s main concern is in the act of painting itself, in the process of art production.

Not through analysing its parameters and breaking it down to its basic elements, but because his subject and content throughout the last 30 years is experimenting with all the possibilities