The Hidden Face Take 2
Artists' House, Jerusalem
Oil on canvas

Paintings that were painted following family photographs that were taken just before the holocaust.

Who survived and who did not? Who will die at his predestined time and who before his time?

I painted with the colors of fire alone.

The faces I covered in gold.

Those who wanted their death did not see their faces

To the Desert
HaYatsranim Building, Jerusalem
Oil on cardboard, Tar on cardboard, Pastel on paper

I came down to the desert for a short period of reflection.

How does one find color in such a monochromatic place?

How does one paint the void?

The Nature Museum, Jerusalem
Oil and pastel on cardboard

This is a series of collagraphs (a type of print) that hint at the things that occur beneath the surface. The sense of calm is deceiving. The history and events that were buried throughout the years continue to sizzle and bubble.

Are the Waters Abated
The Other Gallery, Holon
Oil on cardboard, Pastel on cardboard and paper, Oil on canvas

The black menacing appearance of the raven repels people. I have seen the human in it. In spite of the good name of the dove as a symbol of relationship, it is in fact the raven that is loyal among the birds, to its spouse and to its family. The raven was sent by Noah from the ark “to see if the waters were abated”, and returned. An atmosphere of “after the storm” dwells in these paintings where the background of their occurrence is liquid and devoid of essence.

The Hidden Face
Artists' House, Jerusalem
Oil on linen, Monoprint

After discovering that my grandfather was one of the leaders of the Judenrat in the city of Utrecht in Holland I embarked on a journey to try and discover the truth that was hidden from me all these years. I wandered between holocaust survivors that told me their story and his. I recorded them and drew them as they spoke. I traveled to Germany for a few weeks and interviewed Germans that lived on the other side of the fence. For the first time in my life I felt that art, the painting, is saving me and is separating me from these people and their horrific stories.

Peak of My Blossom
Beit Shmuel, Jerusalem
Oil on canvas

In this series, I asked myself what would happen if I kept quiet, if I stopped opposing and fighting. Will my voice be heard?

The flowers were removed from their natural context: they are not growing from the ground, and are not in water. I also removed some of their leaves.

The exposed flower was left (which in our culture is also a symbol of femininity) in a mute space.

Will these bones live?

Jerusalem of Above
Dweik Gallery, Jerusalem
Oil on canvas, Cooking oil on sandpaper

I drew the place I live in, the Katamonim neighborhood in Jerusalem. Horrible blocks, electricity wires and sun boilers block both the physical and spiritual horizon from the neighborhood residents.

Open Table
Elul Religious Jewish School, Jerusalem
Mixed media on tablecloth

I used images from children’s books and games about Shabbat. I was alarmed to discover that from an early age children are educated to fulfill their role in society: the boy learns Torah and goes with his father to the synagogue, and the girl cleans and helps her mother cook and lay the table. These apparently innocent images I transferred onto white synthetic fiber table cloths that are used to cover the Shabbat table in a typical religious family (25 of these projects were purchased by the Mishkan Museum of Art in Ein Harod and are exhibited in the permanent exhibition about Shabbat).

Modest Exhibition
Artists' House, Jerusalem
Oil on canvas

For years I covered my head as accepted in the orthodox community I live in. The feeling of suffocation and the understanding that the head covering, as well as the increased birthrate is a way of controlling the religious woman led me to create a series of self-portraits where my head was covered with a plastic bag. The response to this exhibition was severe and crossed all sectors.

Tyler School of Art Gallery, Philadelphia, PA, USA
Oil on canvas

As a mother of four small children I was torn between two strong forces: motherhood and art. This nearly impossible difficulty between these two total forces manifested itself in a series that was exhibited during my studies in the United States and then in Israel. The social-religious pressure to bear many children influences a religious woman even if it is not written verbally.

High Tension
Red House Gallery, Tel-Aviv
Oil on linen

The tension between human actions and nature. Who will win the competition?

How difficult it is in our urban surroundings to experience nature, even a tree, without poles and electricity wires cutting our view.

Zion and Others
Red House Gallery, Tel-Aviv
Oil on canvas

Tzion was my neighbor.

He and his friends used to sit in the front garden of his home to chat and play backgammon.

I asked to paint them and they agreed happily. 

Chana Goldberg



© 2017 by Chana Goldberg. Created by Asaf Moshe

  • Facebook - White Circle

Jerusalem, Israel | goldberg.chana8@gmail.com