DAPHNE HOREV | MY MICROCOSMOS SELF AND BEYOND

DAPHNE HOREV | MY MICROCOSMOS SELF AND BEYOND

“Engaging with art for me is like diving into my microcosmos self and beyond. To my most profound feeling, the world surrounding us flows through our human prism, giving us its unique human and personal interpretation.
In the interface zone between the raw world of ‘things-in-themselvs’ and the world as we know it, art happens in an alchemical-magical-synergistic process.” – Daphne Horev

“I was born, raised, and got most of my art education and degrees in Israel. In recent years I have used digital tools in my work, and I define myself as a digital painter. I exhibited my art in galleries worldwide and published it in international art magazines. Most of my art style can be defined as minimalism. I feel its enormous power to condense the subject matter while leaving the viewer with a wide range of personal interpretations; hence I refer to some of my works as Haiku poems.

Flying cranes that embody for me the vulnerability and spiritual power to take a leap of faith into the unknown often pass through my works. I have recently expanded the meaning of ‘Flight,’ lending the cranes’ wings to the miracle of inspiration in the ‘Hypnos’ wings’ series. In the ‘Angels’ series, as a response to the hardship of the last years, I attached the burned wings to the human-angelic entities who harness their power and abilities for the sake of humanity and remain frustrated and helpless when their power is lost, referring to Klee’s ‘Angelus Novus’.

Primordial conch shells, guarding in their womb the secrets of eons, ripple reflections in which reality becomes an ever-changing impressionist vibration, heroes form mythological stories in which I find profound existential psyche truths, making an homage and personal interpretation of masterpieces – they all are the main themes I deal with in my art.

I often use gold color and gold leafing in my compositions.
It enhances the work’s brightness and impact, detaches the subject matter from the realistic context, and elevates it to a metaphorical level. It grants the artworks an aura of secular sanctity.”