Michelle Jezierski: Midnight Window


Photographed by Marcus Schneider

Photographed by Ami Erlich


Curated by Yham Hameiri

June 5 – July 12, 2014


FEINBERG PROJECTS is pleased to announce the exhibition Midnight Window of the Berlin-based artist Michelle Jezierski. This will be her first solo exhibition in Israel that will feature a new series of large and middle scaled oil paintings emphasizing the creation of new spatial dimensions through contrasting different layers of imagery. With her sophisticated brush techniques, Jezierski interweaves compositions of different textures, flooded with artificial and natural light sources, to create new spaces. The light is sculpted through her specific use of color, juxtaposing natural light with the artificial and merging figuration with abstraction. The result is a construction of a dimension in which contradictory worlds are intertwined. These worlds enable the observer to enter a surreal and metaphysical space, in which inside and outside, surface and depth, exist simultaneously.

Through these actions, Jezierski subjects the colorfulness of her paintings to the structure required for the program of her creation.  In her new body of work, Midnight Window, Jezierski focuses more clearly than ever on the subject of inner and outer light upon different planes, flowing out of the objects or from an external light source.  The paintings, which are illuminated with both natural and artificial light, challenge the observer’s position, which is simultaneously ‘drawn’ inwards and ‘cast’ outwards into the space of the gallery.

According to painter and philosopher Kazimir Malevich, pointillism attempted to split light as though it were something substantive.  As a result of this, it appears that light is actually the product of the reality of the radiation that illuminated bodies emit, but in no sense is it real per se.  To a certain extent, the truth is hence revealed, which is the source of the light.  Malevich explains that the method of pointillism influenced painting in the way it clarified that light is a graphic factor composed of mixed solar rays, by means of which it is possible to achieve tonal color in the painted object.

As a result, says Malevich, the painting is the sole structure of color.  Thus the main principle remains the quest for light, since solar rays are not flexible enough to penetrate all the hidden places in the human body, in order to illuminate and clarify its most valuable content.  In order to illuminate the object that is bound in the shadows, sharp human intelligence invented powerful tools, the most perfect of which are x-rays.  Contemporary science invented x-rays of light, and by means of this ray it has opened up concealed things, hidden from the eye.  Thus our eyes have penetrated treasures that were so long concealed.  But this light ray cannot reveal anything – inside the body it found the infinite that is impossible to raise up with a hook, which cannot be encompassed or clarified, since it has no boundaries, no limit, no past and no future, according to Malevich.

The different tendencies in painting delved deeply into the study of the problem of the revelation of light, based on the assumption that in accordance with this revelation they would be able to implement artistic works.  Painters concluded that there exists a new reality – namely color, as a cause that leads to light.

Jezierski expands the usage of collage by creating figurative and abstract elements that pour out and melt into each other, while using her ‘illuminated color’, all of which are to break up the picture’s plane.  She brings about a reexamination of the relations between painting and sculpture by blending different planes in her paintings.

Jezierski draws upon Romanticism as a tradition of escape, of observation and engrossment.  She passes through the Fauvist tradition of using color, whereby her goal is to involve the observer and to make his observation complex, to complete the visual perception. By means of using several planes simultaneously, she amplifies the deceptive effect concealed in the painting.

Yham Hameiri, June 2014


Michelle Jezierski was born in 1981 in Berlin, Germany. She lives and works in Berlin. Jezierski received a BFA in 2002 from the UdK (Berlin University of the Arts) under Tony Cragg and Valérie Favre. In 2005 she received the NICA scholarship and studied at the Cooper Union in New York. In 2008 she received her Meisterschüler title at the UdK Berlin. Since then, her works have locally and internationally been shown in numerous gallery and museum exhibitions, including the I am a Berliner, Helena Rubenstein Pavillion, Tel Aviv Museum of Art (2012); Extrakt I, Vittorio Manalese (CFA Schaulager), Berlin (2010), and Ein Fest Für Boris, Vittorio Manalese (CFA Schaulager), Berlin (2010). Her works could be found in many collections, both public and private, including the Simmons & Simmons Collection, the Sammlung Herrmann, the Vattenfall Kunstsammlung, and the Sammlung Hoek.