The exhibition features 22 works created from being and nothingness, from the magnificent and the terrible. In the pastel series—the paint is the material, and the material is paint containing movement. In the copper and gold wire works—the form is the material, and the material is a form of narrative. In the piles of hidden and concealed colorful cotton threads, there is a search for the truth. In the cut papers—each work embeds an entire life story whose form is a derivative of a reflection, alongside right angles, which are highly present and lured by the ostensibly-impossible softness of multi-layered paper. While the paper is condemned to be cut by scissors, once it has been attached to another paper surface, however, it assumes the form of a small square pillow juxtaposed with other similar and different forms. Together they constitute a geometrical rectangular texture, elusive even to the most skilled eye in its quest for another, moving interpretation. 

Short excerpts from an interview with Irith Bloch in her home-studio:

"The large-scale oil pastels were created in the 1970s and 1980s. Later, in the 1990s, small pastel surfaces were created. All of them—large and small—were on the easel, and I continued working on them constantly, for eleven years. I strove to extract from them biblical and historical human existence." 

"In the threads, an inkling of the primal quality of the pastel is echoed, a sense of depth, material orientations, something rueful. Freedom is conspicuously present. On the one hand—poetry, on the other—narrative; it is the thing itself, containing the tangle as well as conceptual aesthetics."