Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

Tali Tamir
August 2010

Mirit Ben Nun Born August 8, 1966

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.
Line by line, painting after painting while repeating shapes and patterns, a creation
evolves into new shapes and patterns. ---------------------------------------- ---------------------------------------- -----------------Ami Steinitz ---------------------------------------- ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------------------- 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- Nuns beautifying urge carries within it an archetypal strata, mythic
at times, which empowers her authentic expression.

Dr. Gidion Ofrat

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Mirit Ben-Nun

Né le 8 août 1966

Ces peintures exprimer un besoin personnel de délimiter les images et les fantasmes abondante avec la couleur et affectif explosion. Signes, lignes et les matériaux semblent de leur propre gré et se développer comme une langue extérieure combler l'oeil, la main et la surface peinte.
Au cours de la réalisation d'une peinture du pouvoir des formes émaner d'un inconscient et caché dimension intérieure.
Ligne par ligne, de la peinture après la peinture tout en répétant les formes et les modes, une création évolue dans de nouvelles formes et modèles. ---------------------------------------- ---------------------------------------- ---------------------------------------- --------------------------------------Am i Steinitz-------------------------------- ---------------------------------------- ---------------------------------------- -Avec une détermination qui atteint l'obsession, Mirit Ben-Nun, ne cesse de revenir à son art de la décoration soignée. Une forte présence de
ornementation primitive fournit l'œuvre d'art avec une facette tribales, d'une part, et une touche féminine sur l'autre, englobant la broderie, de perles et le tissage du fil, entre autres. Ben-Nun's embellir exhortons porte en elle un archétype de strates, parfois mythique, qui autorise son expression authentique.

Dr Gidion Ofrat.
Category: Entertainment

Mirit Ben Nun
Born August 8, 1966

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.
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 and Ami Steinitz

Mirit Ben Nun
Born August 8, 1966

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.
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 and Ami Steinitz

Mirit Ben Nun
Born August 8, 1966

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.
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 and Ami Steinitz

Mirit Ben Nun
Born August 8, 1966

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.
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 and Ami Steinitz

Mirit Ben Nun
Born August 8, 1966

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.
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 and Ami Steinitz

Mirit Ben Nun
Born August 8, 1966

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.
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 and Ami Steinitz