Painter Rachel Timor regards her work as a type of instructive documentation, contemplation of our past and its assimilation into the hearts of contemporary viewers, arising from an imperative to entwine the past and future that have become an integral part of our present being.
The artist is an active participant in history, a fact reflected in her paintings. She reviews the past, employing it as a model for the generation living in the present. Her painting is engulfed in historical documentation, humorous in part.
The act of painting is a conscious process of influence inseparable from her childhood home, a work of art created out of norhing, a painting wrapped in a personal vein, in an attempt to convey the general atmosphere of the period.
One can encounter entire stories through these paintings that imbued with a pristine feel, Timor recently relinquished the colorfulness that had accompanied her throughout the years, and has shifted to "photographing" the good old Tel Aviv with her unique lines.
She paints after the camera, her lines guiding the eye to follow the forms and structures, until they are defined as the objects, streets and figures of her "local" Tel Aviv.
Timor seems to identify with Man Ray's proclamation: "I photograph whar I cannot paint and I paint what I cannot photograph."
On the one hand, she engages in documentation that traces a reality long gone; on the other- the use of black and white distances the painting from its resemblance to life.
One may perceive this as swift painting of man and landscape. Despite the repetition of the same line, however, Timor manages to maintain a type of freshness.
In her oeuvre, the narure of meaning is clemental and easily intelligible, thus it may be termed factual meaning.
Its deciphering is made possible through identificarion of places and a way of life familiar to us from the past, while facing the gap between the past and the furure.