Cyclamen - the fault line Painting

The painter Yaniv Dror-Fogel, born in 1975, lives and paints in Israel. Yaniv paints landscapes, nature and flowers in oil on canvas. In his paintings, Yaniv uses diverse techniques to create a realistic look and description from the different textures of nature - soil, rocks, water, etc. - tending to develop the level of realism in different degrees of reference. The focus of attention in the picture is drawn with great precision and attention, while other, more distant areas, are depicted with free brush strokes, a paucity of details, sometimes to the point of complete abstraction. The variety of painting techniques and styles that Yaniv uses in his paintings allow him to express his unique impression of the landscape. In this way, the painting does not pretend to imitate reality exactly - that's why there is a camera - but to express the painter's ideas and feelings about reality and how to describe it. Yaniv’s landscape paintings describe the landscape of the Land of Israel. The paintings depict broad views of the beauty of the Holy Land, from a unique and not "classical" point of view. They describe the feeling of the painter when he was present at the place ,instilling feelings of calmness, peace and joy of life, rather than a heroic feeling - which characterizes postcard or image photographs. The nature in Yaniv’s flowers paintings, presented from the flower’s level. The beauty of creation as it is expressed in the smallest of details: the stone, the leaf, the branch and the flower are the heroes of the painting. In the process of creating the flower paintings, first layers of paint are laid down to create an abstract painting. These layers give the painting an atmosphere, emotion and randomness that will be preserved later on. From the abstract, the objects are "sprouted", processed with a level of detail, precision and different techniques. In his paintings, Yaniv is drawn to description out of a preoccupation with questions about the selective human gaze. The beginning of the painting as an abstract painting allows a central place in the work for accidents, coincidences, divine intervention and unconscious creation. This is a subjective view condensed with charges of emotion, randomness, impression and thinking.