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(organized by Felix Ringel Gallery with cooperation of Gabriel Stux)

Pop up show_Düsseldorf_2011 

Gabriel Stux and Felix Ringel Gallery present the work of Roy Mordechay in a temporary exhibition space. Used as a general practitioner and Chinese Medicine by Gabriel Stux, Mordechay now spreads out on three floors of his very personal world. 

Born in 1976 in Tel Aviv artist uses not only the former practice and living rooms as exhibition space, but approaches them with caution subtle conceptually less emotional than their former determination, integrated left behind, medical technology and furniture acupuncture device. 

Mordechays imagery reflect the lifestyle of the younger Israeli generation. He uses the film and comic book aesthetics, also takes up the design language of sports and advertising. He stated in his work an ideal of masculinity into question, formulated by weakness and fragility of his often-damaged anti-heroes. The artist inside out in his works always be very private inner eye outwards and spreads his own mythology regarded before. Everyday life and fantasy, accidental, and natural science observations together. Mordechays subjects, once adopted as ideas emerge from a highly intuitive approach to the subject and are created at high speed. 

Thus, many of the watercolor works in the exhibition in Düsseldorf recently emerged, including the main plant and namesake of the exhibition, Thousand Parrots. 
The hanging prominently on the first floor work, a more than seven feet long watercolor shows, dozens of miniature-like, swarming parrots and other delicate aviation. Arranged in the shape of a Chinese painting scroll work integrates many of Mordechays pictorial narratives, correspondence with motifs such as the elderly parachutists and hammocks, the Blue Dogs and the human / animal / plant hybrids. Starting from this and other thematically related works, the cosmos Roy Mordechays opens gradually. 

The vital nature of his imagery - particularly that of the watercolors - a hint of fun. In them and even more so in the paintings is still something explosive, it will be discussed walls, fences and bursting, control and loss of control. Mordechay is not a political artist, yet to play much of his work on the political situation in Israel and the occupied Palestinian territories, with the state of fear and oppression on both sides, which occurs on a fragile surface revealed. The themes of vulnerability and war often resonate with, 'mental', as Mordechay himself says, without being directly addressed. 

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