David Gerstein

Gerstein's creations are outwardly simple and transparent - their existence airy and light - as they strive to touch the untouchable. Both his paintings and sculptures embrace a quintessential quality of form and of matter. They appeal to their viewers without bashfulness or hesitation, seducing them into a world of art, full of enchantment and delight.

As a painter and a sculptor, an excellent draughtsman and a dexterous designer, David Gerstein seeks to expand the limits of two-dimensional paintings into three-dimensional sculptures. In his choice of subject matter he wishes to break down the existing barriers between the work of art and its audience by creating enchanted and straightforward images, which render, at times, intimate, dream-like naive scenes and at other times, cinemascope-like, large scale, choreographed events. His easily recognizable artistic colourful syntax have developed gradually, reflecting a search for a distinct voice, which ranges from the local to the universal and echoes several levels of representation simultaneously.

Gerstein maintains a conscious dialectic between the hand-made original/unique work of art and the reproduced work of art, between the aura of art and its commercial manufacturing. Therefore his art sustains, in a self-aware manner, an aesthetically and socially charged tension of high art amid low popular culture. His versatile body of works consists of indoor wall-sculptures formed as multi-layered cut-outs, outdoor works, sculptures, paintings, prints, drawings, and multiple designed objects, which can be found in museums and galleries, private collections, indoor and outdoor public spaces, as well as in private buildings, artefact and design shops.

As a prolific artist, Gerstein manages to create a universal, colourful and representational imagery of human behaviour that is based on daily, intimate moments. This behaviour is set against various backdrops that vary from the urban to the rural. Moreover, his art as a whole, in spite of its appearing detachment, systematically contains and retains many autobiographical elements. Consequently, any contemplation on, or consideration of the works evokes an experience, which is both collective and personal.

Ref. To ‘Boundless Painting' by Irena Gordon