Dr Zipi Landau
“The search for infinity and perfect chaos” is the title of one of Leviatan’s paintings, a theme that is repeatedly intimated in different layers and ways of presentation as a connecting thread that describes Leviatan’s paintings.
This is a continual search within areas of experience of alternative consciousness, dream, mystical experiences, replacing reality with an emotional experience, an experience beyond boundaries of time or place.
Leviatan exposes an inner world; his paintings toss the observer through an instinctual, sensual experience that occurs in no particular physical time, perhaps reality, perhaps a dream, mists of figures, color and forms that scream out of the material.
Feminine and masculine images can be identified, but it is impossible to know who they are for certain, is it a human shadow? Is it alive or dead? The observer’s imagination continues to complete what is seen on the canvas. Leviatan, with much success, shocks without any concessions.
He has chosen to grant his paintings titles that obviously allow a connection with literature and the reality of life: “The Aging Widows of Israel and Palestine”, “Love in the Time of Cholera”/ “Homage to G.G. Marquez”, a fogginess of images entangled one with the other, their fates connected through love as in bereavement, in good and in bad, while life and external forces control them and their choice.
Gabriel Garcia Marquez said in his book: “I have never dealt with any subject apart from love”. The subject of love appears again and again in literature and art, an eternal quest in moral and emotional issues, dramatic and even tragic. Leviatan searches for wisdom relating to life, to interpersonal relationships, a quest and investigation of feelings, perhaps inspired by Marques.
The images here are not portrayed in a complimentary fashion, some of them are sagging with drooping limbs, they intertwine and become whirlpools of images, suffering and cumbersome; a choice of soft and misty colors emphasizes this sensation. He is obviously occupied with studying gender aspects and contexts and the idealization of love and love relations.
The placing of layers of paint and the undetailed figures provide a sense that the material is sculpted.
There is no search for beauty or aesthetics, happiness or optimism. This can also be discerned in the paintings on paper, where there is an obvious swirl of colors, light colors and placement of color in stain and line.
Leviatan chooses to paint complex subjects relying on thoughts, concerns and despair that trouble humans and over which they have no control. A sort of anxiety and a vortex of emotions; the observer’s role is to decipher what he sees and feels for himself.
It is obvious that Leviatan knows and carefully controls the materials and the placement of the brush and orchestrates the composition of the message, of the perceptible and imperceptible subjects that he chooses to present in his paintings. And so he does not allow his observers to remain apathetic, arousing them and lighting up a path for them into places outside their comfort zones.
When Gabriel Garcia Marquez was asked about his writing of the book, “Love in the Times of Cholera” he said: “This is my best, it’s a book that is written from the guts”. This quotation is appropriate for the creative work of Leviatan, who embroiders intimations, philosophical thoughts, world perceptions and reminders of repressed emotions and shares them with skill and courage without any desire to embellish, daringly and without fear, presenting them authentically as he feels and sees them.