Roy Mordechay (b .1976 in Haifa, Israel, lives and works in Düsseldorf, Germany), In the attempt to describe Roy Mordechay’s working process, the term layering seems obvious in two respects – on the one hand, it means the use of manifold references layered next and above each other. On the other hand, it addresses the production of new works made of the remains of pre-existing, former pieces. His imaging sources reach from those of the digital age over to cultural-historical artefacts, pictures from the Middle Ages back to pre-historical cave painting – but also daily observations and the studio routine feed into his working process. In an ingenuous kind, his works comprise a conglomerate of images colliding, swinging, and reverberating. Detached from each other, figures and objects are hovering over the canvas: a shadow body with twisting, long limbs; a cigarette-smoking head; passing clouds; a thumb up; an ear? These are joined by various abstracted forms and scribbles. Even though each visual element seems autonomous, the viewers catch themselves in the attempt of drawing connections between them, arranging them, and weaving them into a tale – an attempt that eventually fails. This is due to the difference between the concreteness and the dissolving in which Mordechay’s image motifs are fading and growing pale while one tries to grasp them – here, following the dream logic and the moment of remembrance, in which the dream images vanish in waking state.