Void and Infinity: Shai Azoulay

This series of Azoulay’s works deal with the cut-outs of Matisse. In fact, Azoulay often paints with the residues of Matisse's cut-outs. Inside the frames of the stencils there is void. Azoulay sees Matisse’ stencils (the frames) as a symbol of Matisse's art, which is almost infinite. However, there is also the space of the stencils into which the creative light of a new generation of painters will beam.

Azoulay’s Cut-Outs series is not only about art, but also related to his belief. He believes that God's infinite light guides his creation of painting in the void. It is also a metaphor of the Kabbala's doctrine of the creation of the world. In Lurianic Kabbalah, God began the process of creation by "contracting" (tsimtsum) his infinite light to allow for a conceptual space in which finite and seemingly independent realms could exist. The primordial contraction forms a vacant space into which new creative light could beam.