Mirit Ben-Nun develops a style where he tries to demonstrate the manifestation of movement, rhythmic repetition and the speed of objects on the canvas.In the process the artist often asks difficult questions or causes reflection without giving easy answers. Her curiosity, your open mind and a commitment to dialogue are her best tools to address your artworks.

These works often challenge our ideas about how art should look or how it should behave. Her art is not based on what was said before and does not depend on the academies of art, breaks traditions, and does not imitate the real world, it is an art that transmits through its works the inner world of the artist. Through imprecise and significant characters, it radiates different ideas about the reality of the world of human dreams.Mirit gives us a clear idea that art is not separated from life and from the real world in which we live, reflects thoughts with style and unique focus.

Mirit Ben-Nun uses lines and points as an expressive resource and does so by exploiting nuances and associations to their fullest. Some forms follow the same direction and others change constantly, even urgently. Its language is visual and independent of its expressiveness; it lies in the value and organization of its elements.

The 'things' of the visual world are unimportant, the point is the achievement of reproduction of the world and human nature. Constantly encouraging creativity. In this case pointillism conveys emotions by the effect of using color, points, lines and thus capturing the attention of the observer.

Dora Woda

These paintings express a personal need to delineate images and fantasies abundant with
color and emotional explosion. Signs, lines and the materials appear of their own volition
and develop as an external language bridging the eye, the hand and the painted surface.
During the making of a painting the power of the shapes emanate from an unconscious
and concealed inner dimension.

Ami Steinitz

Line by line, painting after painting while repeating shapes and patterns, a creation
evolves into new shapes and patterns. With a determination that reaches obsession, Mirit
Ben-Nun keeps on returning to her art of meticulous decoration. A strong presence of
primitive ornamentation provides the artwork with a tribal facet on one hand and a
feminine touch on the other, encompassing embroidery, bead threading and weaving
among others. Ben- Nun’s beautifying urge carries within it an archetypal strata, mythic
at times, which empowers her authentic expression.

Dr. Gidion Ofrat

Painting Outside the Box' by Ilan Vizgan

The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all A poem by Nathan Alterman/ summer celebration

Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements. Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point. Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia. The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings.

In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites. The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.

Painting Outside the Box' by Ilan Vizgan

The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all A poem by Nathan Alterman/ summer celebration

Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements. Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point. Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia. The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings.

In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites. The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.

The painting is engulfing as a result of being primitive, free from justification and the sense of guilt for not being intellectual. It comes from the unconscious creative the psychological drive which is not adapted to a language of nuances and does not require decoding.
Mirits spectator is bombarded with a colorful abundance, with repeating images and metaphors that are easily perceived and identified. For the person who is accustomed to the sophisticated art form, this is a fresh breath of immediate beauty.
Perhaps this is the place and the time to go deeper into the roots of a culture which for generations now has been obscured with theories and isms.
David Gerstein

The painting is engulfing as a result of being primitive, free from justification and the sense of guilt for not being intellectual. It comes from the unconscious creative the psychological drive which is not adapted to a language of nuances and does not require decoding.
Mirits spectator is bombarded with a colorful abundance, with repeating images and metaphors that are easily perceived and identified. For the person who is accustomed to the sophisticated art form, this is a fresh breath of immediate beauty.
Perhaps this is the place and the time to go deeper into the roots of a culture which for generations now has been obscured with theories and isms.
David Gerstein

Estos dibujos tienen una visión que va más allá de la realidad. No la representan, pero si la persiguen y tratan de alcanzarla. En estas obras podemos ver la agresividad en el uso de los colores, creando formas y a la vez integrándose, pero cuidando su independencia. No intentan copiar la realidad sino por el contrario transmiten la carga emotiva del artista. Abunda el movimiento, la velocidad y la repetición rítmica y obsesiva de los elementos. Representan el mundo con sus complejos problemas, criticando las estructuras, y dando respuestas no fáciles. Mente abierta, mente de mujer artista, ávida por expresarse, compartir y unirse al caos interno y al que la rodea.

Mirit Ben-Nun usa las líneas y los puntos como un recurso expresivo y lo hace explotando al máximo sus matices y asociaciones. Algunas formas siguen una misma dirección y otras la cambian constantemente, hasta con urgencia. Su lenguaje es visual e independiente de su expresividad, reside en el valor y la organización de sus elementos. Las cosas del mundo visible carecen de importancia, lo valedero es el logro de reproducción del mundo y la naturaleza humana. Fomenta constantemente la creatividad. En este caso el puntillismo transmite emociones por el efecto que logra usando color, puntos, líneas y así captura la atención del observador.

Dora Woda

Estos dibujos tienen una visión que va más allá de la realidad. No la representan, pero si la persiguen y tratan de alcanzarla. En estas obras podemos ver la agresividad en el uso de los colores, creando formas y a la vez integrándose, pero cuidando su independencia. No intentan copiar la realidad sino por el contrario transmiten la carga emotiva del artista. Abunda el movimiento, la velocidad y la repetición rítmica y obsesiva de los elementos. Representan el mundo con sus complejos problemas, criticando las estructuras, y dando respuestas no fáciles. Mente abierta, mente de mujer artista, ávida por expresarse, compartir y unirse al caos interno y al que la rodea.

Mirit Ben-Nun usa las líneas y los puntos como un recurso expresivo y lo hace explotando al máximo sus matices y asociaciones. Algunas formas siguen una misma dirección y otras la cambian constantemente, hasta con urgencia. Su lenguaje es visual e independiente de su expresividad, reside en el valor y la organización de sus elementos. Las cosas del mundo visible carecen de importancia, lo valedero es el logro de reproducción del mundo y la naturaleza humana. Fomenta constantemente la creatividad. En este caso el puntillismo transmite emociones por el efecto que logra usando color, puntos, líneas y así captura la atención del observador.

Dora Woda

Estos dibujos tienen una visión que va más allá de la realidad. No la representan, pero si la persiguen y tratan de alcanzarla. En estas obras podemos ver la agresividad en el uso de los colores, creando formas y a la vez integrándose, pero cuidando su independencia. No intentan copiar la realidad sino por el contrario transmiten la carga emotiva del artista. Abunda el movimiento, la velocidad y la repetición rítmica y obsesiva de los elementos. Representan el mundo con sus complejos problemas, criticando las estructuras, y dando respuestas no fáciles. Mente abierta, mente de mujer artista, ávida por expresarse, compartir y unirse al caos interno y al que la rodea.

Mirit Ben-Nun usa las líneas y los puntos como un recurso expresivo y lo hace explotando al máximo sus matices y asociaciones. Algunas formas siguen una misma dirección y otras la cambian constantemente, hasta con urgencia. Su lenguaje es visual e independiente de su expresividad, reside en el valor y la organización de sus elementos. Las cosas del mundo visible carecen de importancia, lo valedero es el logro de reproducción del mundo y la naturaleza humana. Fomenta constantemente la creatividad. En este caso el puntillismo transmite emociones por el efecto que logra usando color, puntos, líneas y así captura la atención del observador.

Dora Woda

Estos dibujos tienen una visión que va más allá de la realidad. No la representan, pero si la persiguen y tratan de alcanzarla. En estas obras podemos ver la agresividad en el uso de los colores, creando formas y a la vez integrándose, pero cuidando su independencia. No intentan copiar la realidad sino por el contrario transmiten la carga emotiva del artista. Abunda el movimiento, la velocidad y la repetición rítmica y obsesiva de los elementos. Representan el mundo con sus complejos problemas, criticando las estructuras, y dando respuestas no fáciles. Mente abierta, mente de mujer artista, ávida por expresarse, compartir y unirse al caos interno y al que la rodea.

Mirit Ben-Nun usa las líneas y los puntos como un recurso expresivo y lo hace explotando al máximo sus matices y asociaciones. Algunas formas siguen una misma dirección y otras la cambian constantemente, hasta con urgencia. Su lenguaje es visual e independiente de su expresividad, reside en el valor y la organización de sus elementos. Las cosas del mundo visible carecen de importancia, lo valedero es el logro de reproducción del mundo y la naturaleza humana. Fomenta constantemente la creatividad. En este caso el puntillismo transmite emociones por el efecto que logra usando color, puntos, líneas y así captura la atención del observador.

Dora Woda