Daniel Shoshan is a multidisciplinary artist and curator who has been active in the Israeli art sphere since the eighties. A senior Teaching Associate at the Faculty of Architecture and Town Planning in the Technion – Israel Institute of Technology, he established and heads their Architecture and Experimental Art lab.

Shoshan represented Israel in the San Paolo Biennale, and curated the Israel booth at the Venice Biennale of Architecture. His works have been featured at dozens of exhibitions in Israel and abroad, and are part of Museum and Private collections throughout the world. Shoshan’s art is a journey in search for identity, at the heart of which lies an artistic language that brings together seemingly opposite ideas and styles: minimalism vs. figurativism, east and west, religion and secularism, and personal vs. political.

This exploration of self creates a free and individualistic style, an authentic distillation of intellectual and artistic-sensory expression, that remains unbeholden to any stream, or method.

In the past decade and a half, he abandons his involvement with cultural myths and focuses on personal ones — disengaging from artistic syntax and approaching, instead, the physical work of autobiographical creation. The exhibition presents a range of works that Shoshan created from the end of the nineties till today; works that deal with intra-artistic questions, with locality, language, and politics. In his later works Shoshan draws closer to home, children and childhood.

In his landscapes, Shoshan is fascinated by his childhood vistas of the Beit Shean valley. He doesn’t remain within the borders of the city where he grew up, but ventures beyond — to the city limits and the Eiruv that runs around it, the line that represents the halachic border within which one may carry on the Sabbath.

“Beyond the Eiruv line, lies the dream and the yearning...The unattainable”, — he explains. “I am constantly returning to the place where I was born. It is where my consciousness was formed. When I paint these sceneries, I enter a kind of meditative, intense, almost obsessional state.

I am entirely consumed by the canvas, 10 centimeters of it... I work almost without even looking at the painting”.