Zohar Fraiman Curated

Israeli Postwar & Contemporary artist


This profile has been added by users(CURATED) : Users who follow Zohar Fraiman have come together to curate all possible video, text and audio interview to showcase Zohar Fraiman's journey, experiences, achievements, advice, opinion in one place to inspire upcoming painters. All content is sourced via different platforms and have been given due credit.

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  • “What do you think people in Business or in other disciplines can learn from artists?”

    “I think that artists have a certain ability of reflection because they are engaged all the time with being creative, challenging, engaging in certain themes, etc. I feel that artists have a very strong reflection of society and of people and of who we are. I think that these things are connected. I had a discussion with a friend of mine, who is politically very active, and he keeps saying to me like “Art is useless, you don’t need it. It doesn’t give you anything”. I kept answering him “It gives everything.”

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  • The notion of feedback is an important point to foster reflection. Indeed, it enables her to get a fresh view on her works. Yet, she explains that not every feedback is to be taken into account. In her eyes, a feedback worth hearing is a sincere analysis.

    “Also. When I have an exhibition and somebody that I never met before says something, I try to listen and to see if there is any substance of any given view. They don’t know me […] they have no insights into all my history […] and they can see something that can be really refreshing and very simple, that can give you a better understanding of where you are standing now. […] Earlier it used to be more painters and now it’s everyone whose opinion I appreciate, it doesn’t matter if they are painters, or if they do whatever. As long as I see what they have to say as something sincere.

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  • The painter leaves a lot of room for intuition and dialogue with the object. The initial planning becomes less relevant when the process has started and the outcome emerges from the process:

    “It changes a lot. There are times where I just paint, paint, and paint, and even though I’ve made a plan, all of the painting is just like running out of my hand; it just flows in a way that I can’t control it anymore. I have an idea. I don’t plan anything, and it just comes out in the painting.”

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  • This visualization is important to be able to focus, which a prerequisite for painting. To Fraiman, painting is like a dance and music acts as a catalyzer to put on the canvas what she wants to express:

    “For painting, you need a few things: you need a lot of guts, you need to be passionate and you also need to be attentive and listening. If you don’t have these guts or this kind of strength in your painting, I feel that things don’t really come through. You need to take it from inside and bring it out. […] What helps me a lot to paint is listening to music. While I paint, I listen to music 95% of the time […] when you are painting, you are using your whole body. You are standing on your feet, moving back and forth, using your arms, moving your head. It’s like a dance. So the music enables me to connect all of that.”

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  • Before facing the white canvas comes the part where imagination enables her to visualize what she wants to express with the painting.

    “The painting is at first a white canvas, and I imagine everything that I could put into it. It’s again thinking about inspiration. I think about colors and paintings I love, and things that I want to see, that are only in my head but that are not out there. […] It goes back again to the vision that you want to put on the canvas. You want to see a certain image, a certain feeling, a certain something out there on the canvas.”

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  • What do you say about your painting?

    “So to me, I see this as a woman, who is not physically or emotionally ready for a fixed marriage and for me a lot to discuss: forced marriage and women that are not aware or able to get to know their own sexuality. […] I am constantly looking, reading, watching things that are related to the subject of possession.”

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  • How did you take your first step towards this?

    “It was clear, that my first agenda wasn’t making a decent living […] For me it was painting and drawing, and being an artist. […] I remember saying to her [her friend’s mother] when I was fifteen “All I want to do is to be an artist”, and she said, “Then, just do it!”. […] A year after, I enrolled into a painting and drawing high school in Jerusalem. I instantly just couldn’t stop!”

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