A double, even triple space is thus created. The artist tries to give expression to the Other through his own juices, as irrepressibly as possible. However, at the same time, an intelligent conversation is going on, perhaps even settling a score with Israeli modernism at its best.
We can easily detect the influence of the "Poverty of Matter" school of Aviva Uri, its herald, and later on, the movement led by Raffi Lavie, Michal Na'aman, Yair Garbuz, Tamar Getter, and others. The group's work is characterized by the use of Hebrew and Latin lettering and the inclusion of photographs, paper cuttings, and other non-painterly materials. And there, again, is the charged tension between violence and instinct and the artistic forms and traditions that shackle us, like word combinations on the altar of the intellect. that very tension the artist is trying to vomit and crash against this wall.
This conversation with the fathers is not just battles and struggles; it is often imbued with irony and fun since Orna the Witch is a non-existent position, within the strict conceptual discourse of the Hebrew Masters from HaMidrasha Faculty of Arts. But "Oren" of the notes, in the role of "Orna," is truly present within the costume during the painting trance. The return to the mystic, the spiritual, and the outcast is a feature of the innovation Oren presents on this wall, of a style that may have lost touch with the religious madness of our time.

Text out of Neshamot exhibition, Sothbeys TLV, Tel Aviv, Israel