Born in 1963 in Saint-Cloud, lives and works in Israel and Paris

Keren – Paris, December 2009

Keren focuses on body parts in a metonymy that stems not from a discourse on love but from the expression of pain when suffering tears the soul apart. Chaos. The monstrous forms of fragmented bodies become abstractions.

Split asunder, the body gradually melds harmoniously with the pieces of another body: Renaissance, the Beginning. Man, woman, the dance of matched and mismatched couples, the geometry of couples.The second part of Keren’s project revolves around all-engulfing desire, or agreement and disagreement in the workings of the subconscious.

The birth of the World. If you see some sort of rapport with a secular best-seller, it’s no coin- cidence. A return to the mythological sources of the biblical Creation as a mirror and anamorphosis of the body, i.e. of the ego, is a charac- teristic feature of this artist’s work.

A return to source and to childhood that enables a human being to situate himself in history and what is yet to come.

Keren’s photographs are not simply flat representations of reality but the graphic expres- sion of human geometry, milestones of a serial autobiography.

“I’ve never been able to abandon blue,” said Keren, echoing Georg Baselitz who once declared that he used blue to ward off evil.

Lélia Mordoch