The hall in which the exhibition is staged served Moshe Kupferman as a combined space for work and for storage of paintings, works on paper, and prints. Henceforth it will be used for permanent display of selected works. The hall was designed by Kupferman himself: its unique daylight, virtually unparalleled in Israel, attests to the meticulous attention he devoted to creation of optimal conditions for work and observation.
The display begins at the foyer, where four early paintings are on view. The first, Acre, was executed in 1958; the second, Structure in Grey of 1959, was featured in Kupferman's first solo exhibition at Chemerinsky Art Gallery, Tel Aviv, in 1960; another painting, dated 1961, was created during the young artist's first sojourn in Paris, where he became captivated by "experiential" abstract painting.
The main hall offers chronological presentation of paintings from Kupferman's mature period. The first was created in 1964, attesting to a lyrical phase in which feelings and allusions to natural harmonies were exposed; in a 1965 painting the Kupfermanesque grid first appears, still in a "supporting role"; the paintings from 1974 and 1977 belong to the phase in which monochromaticity serves as a type of ground for the linear structure; the large-scale painting from 1986, combining line and stain in a dense, uniform texture, is among the pivotal works presented in Kupferman's exhibition at Centre Georges Pompidou, Paris (1987). Finally, the four paintings from 1989-2003, representing the artist's later period (Kupferman passed away in 2003) unfold a wealth of form and color, elucidating Kupferman's modus operandi: an artist of unearthing and covering, exposure and concealment; an artist of the joy, doubt, and pain involved in the tenacious construction of a "work" drawing on his personal experiences; experiences which Kupferman cumulated in his consciousness over the years, and whose secret he bravely and painstakingly guarded.
Yona Fischer, December 2005