Jusidman's eclectic mix of imagery spans everything from geisha and clowns to nameless psychiatric patients in Mexico City. Part of his ongoing exploration of the interrelationship between "distance" and "presence," his work explores the in-between spaces that separate objects from their representations, For Jusidman, this discrepancy "constitutes the soul of painting." It could be said that he uses paint the way others use language. His command of the grammar of painting and the vocabulary of its technique allows him to work beyond a singular style. (As might be expected, many are seduced by Jusidman's Virtuosity, as an artist but also as a writer. He holds degrees from the Californfa Institute of the Arts [Bachelor of Fine Arts] and New York University [Master's degree].) Though critically informed, his work relies upon traditional representational techniques that challenge conventional expectations of modernist painting. Jusidman employs those techniques to expand his critique of painting.
© 2000 Art Press
Ken Gonzales-Day, "Distant Smiles: Painting of Yishai Jusidman." Artpress Magazine 260 (September 2000): 38-42.