Michal Raz’s works synthesize painting, photography, printing, and collage.
In these works, three supposedly contrasting approaches are discernible:
The first takes from that which is seen – the formal language translates the existent in a realistic/figurative/tangible manner, as the sources of inspiration are the object, the urban landscape, and nature.
The second takes from ethnic/industrial/digital ornamentation and is characterized by a systematic or chaotic repetition of colors and shapes.
The third approach is a synthesis of the first two which are opposed to one another: an ornamental motif, of any type, might infiltrate a figurative scene unannounced, while a tangible image may crop up out of abstraction without recoiling.
Raz’s works may illustrate man’s consciousness, which on the one hand keeps planning ahead while it is necessarily shocked on the other, a sort of everyday, even hourly, consciousness oscillating between subjective desires and thoughts and between dynamic, unpredictable occurrences, and consequently might also seem threatening to oneself.
The viewer’s naked eye may be captivated by the seemingly refreshingly colorful arrays. Gradually, though, the eye will catch on to the piercing images resembling weapons of war, runways, airplanes, and other vessels of destruction.
The magical ornamental ambiance turns into terror in spite and because of the aesthetics which is a dominant feature of these works.