This diptych reflects on the fragile boundary between memory and disappearance. The first canvas (Field of Echoes) evokes vertical silhouettes rising from a scorched ground — traces of presence held in silence. The second (Falling Silhouettes) captures petal-like forms suspended between bloom and collapse. Built with Mediterranean sand, burnt sienna, and black, both works explore collective trauma and remembrance through gesture, texture, and material restraint.

  
2025, Acrylic and Sand

Texture on Canvas, palette knife

Size: 55 x 90 cm

What the Field Remembers (Diptych)

An architectural spread in an artbook, exploring the visual language of Tel Aviv — from Brutalist landmarks and Modernist towers to contemporary parametric forms. Using acrylics, liners, and mixed media techniques with a palette knife, the series documents the material memory of the city through façade textures, typologies, and urban rhythms.

ArtBook — Material Study: TLV Architecture, 2025

“The Path We Walk” reflects on how we move through life — step by step, between light and darkness.

  
A solitary figure crosses a striped path, symbolic of the journey each of us takes. The crosswalk becomes a metaphor: each stripe a milestone, each square of light a moment of clarity, a memory, or a turning point.

  
The figure is not someone specific — it represents all of us, walking forward even when the destination is unclear. The textured surface and palette knife strokes express both fragility and resilience.

  
Painted with a restrained palette, the work invites quiet reflection. It’s not just about a city scene, but about motion, silence, and the emotional terrain of moving through time. It is a portrait of perseverance and presence — the moments that illuminate us as we go.

The Path We Walk

Solar Residue is an exploration of the interplay between architectural rhythm and material erosion under the weight of time and light.

The geometry of modernist facades dissolves into textured surface — a residue of ideal form, scorched by sun and duration.

  
Burnt sienna spills across the structure like light pressing into concrete — not to illuminate, but to consume.

Through layered brushwork and scraped gestures, the painting becomes a meditation on heat, memory, and the slow unraveling of constructed order.

  
This is not an image of a building, but its afterglow — a trace of what it means to inhabit form.

  
2025, Acrylic and Sand

Texture on Canvas,

palette knife

Solar Residue (Architecture of Memory)

“Vestige” is an abstract reflection on the memory of built environments — not a literal house, but the echo of one.

This piece was inspired by weathered walls, architectural decay, and the way structures carry emotional residue over time. The painting captures not what buildings look like, but what they feel like once they’ve been abandoned, worn, or half-forgotten.

Created with acrylic, plaster, and textured gesso using a palette knife, the surface is rich with tactile marks, cracks, and ghosted layers — evoking old plaster, faded facades, and physical erosion. Warm siennas, ochres, and whites mimic the colors of earth and stone. These materials were chosen deliberately to express both fragility and permanence — a push and pull between construction and decay.

2025, Acrylic and Sand

Texture on Canvas,

palette knife

Size: 50 x 70 cm

Vestige (Architecture of Memory)

These sketchbook pages reflect my ongoing research into the conceptual and material properties of the pigments I use most frequently: Burnt Sienna, Mars Black, and Titanium White.

Each note combines historical reference, material observation, and visual response — functioning as both reflection and visual essay. The study deepens my minimalist approach, where color is never just hue, but memory, presence, and structure.

  

ArtBook - Material Study — Pigment Notes, 2025

“Between Marks” is part of the ongoing In Between series, inspired by the Japanese philosophy of the space in between.

  
Built with layers of acrylic and sand, the work explores gesture, erasure, and surface.

  
A limited palette of burnt sienna, black, and white creates a visual rhythm. Texture serves as evidence—of interruption, memory, and presence.

  
This piece invites the viewer into a space where silence is filled with weight and the breath of a trace.

Between Marks

Traced Silence is part of the ongoing In Between series, exploring ma — the Japanese concept of the space between.

Built upon a sand and acrylic base, this 25×25x1 cm piece captures the tension of absence. There is no figure — only gesture, erasure, and surface. The painting does not speak; it holds.

Burnt sienna, black, and titanium white form a restrained triad. Texture operates not as embellishment, but as evidence — of interruption, of memory, of presence.

This work invites the viewer into a space where silence is not empty, but filled with weight and breath. A trace remains — nothing more, and nothing less.

Acrylic and sand on canvas. Ready to hang. Artist’s signature emblem stamped in the corner.

Traced Silence

This piece is part of my ongoing series In Between, which explores the Japanese concept of ma — the space between forms, moments, and gestures. I’m interested in what happens not in the mark itself, but around it: in the pause, the restraint, the near-absence.

  
Working with a palette knife and a limited monochrome palette, I approach each canvas as a field of silence. The stroke emerges not as an image, but as an interruption — a trace of presence that resists clarity. Rather than filling the space, I aim to create tension within it.

  
This painting invites the viewer to pause — to experience stillness as form, and silence as structure. It is about what remains, not what is declared. 

  
Medium: Acrylic on canvas, palette knife

Not Yet Said

In Fragments of Gold and Silence, the artist employs abstraction as a medium for articulating inner landscapes — elusive, layered, and emotionally resonant. Blocks of color — deep burgundy, black, ochre, and soft nudes — are interspersed with gilded surfaces that introduce a rhythm akin to the architecture of memory.

  
The composition balances intuitive gesture with structural rigor. While narrative is absent, a visual dialogue unfolds between the material and the metaphysical. Texture operates not as surface ornament, but as a vehicle of expression. Gold here does not merely embellish — it ruptures the pictorial field, functioning as a signifier of the sacred, the lost, or the repressed.

  
Rather than offering resolution, the work opens a space for introspective reflection — a space suspended between brilliance and void, embodiment and erasure.

Fragments of Gold and Silence

This monochromatic piece reimagines a classical torso through bold palette knife texture and minimal color. The faceless, armless figure evokes ancient sculpture — a broken Venus — but is reframed within a dynamic, expressive black rectangle, as if the past bursts into the present. The contrast between rough white impasto and stark black background suggests tension between preservation and erasure, memory and identity. The frame — partially respected, partially violated — underscores the dialogue between order and chaos.

  
Acrylic and palette knife on canvas. The texture is tactile, raw, and sculptural — a painting that wants to be touched as much as seen. 

No Face, No Time (Temporal Revision)

A Contemporary Reimagining in Palette Knife and Texture.

A minimalist interpretation of the iconic Girl with a Pearl Earring, this 25 x 25 cm canvas on board is rendered using a palette knife and a restrained color scheme: sienna, black, and white. The bold, textural strokes emphasize form over detail, creating a tactile presence that transcends literal portraiture.

The figure emerges from a stark, ink-like backdrop, breaking through the hand-drawn frame — a visual metaphor for crossing boundaries between past and present, tradition and abstraction. The facelessness evokes universality, while the signature pearl glints quietly from under heavy brushwork, anchoring the image in its art-historical lineage.

Girl with a Pearl Earring, 2025 (Temporal Revision)

"Silence of the Layer" is an abstract, meditative painting inspired by landscape not as image, but as memory and presence. The work explores the tactile language of earth through layered textures and warm, organic tones ranging from deep black to pale sienna.

  
The painting was built slowly using natural sand mixed with acrylic to create a physically rich surface. Each layer acts as a sediment of time — evoking silence, breath, and stillness. It is not about what is seen, but what is felt through weight, material, and rhythm.

  
The minimal palette was chosen to emphasize tonal transitions and light absorption. The final dry-brush highlights allow the surface to breathe, revealing depth without disrupting the calm.

  
This work invites quiet reflection. It is about holding presence — not through form, but through the memory of form.

Silence of the Layer

“The Listener” is a meditative painting exploring memory and inner identity. A faceless silhouette gazes toward a distant house under a dark sky — a quiet symbol of the emotional “home” we carry within.

  
Created with acrylic and sand on canvas, the piece features a warm, textured burnt sienna background and dark abstract forms suggesting landscape and reflection.

  
Rather than tell a story, the work invites stillness and personal interpretation — a visual pause where presence replaces words.

The Listener

This work explores the inner barriers that often appear to be a part of us — yet quietly hold us back from becoming who we truly are.

  
The blue figure represents a shadow — seemingly strong and confident, but in reality, it conceals.

It doesn’t protect — it hides us from ourselves, silencing potential, slowing growth, and blurring identity.

  
Behind it stands the true self: warm, vulnerable, and nearly pushed out of view.

  
The painting reflects on internal limitations, imposed roles, and false identities we often mistake for our essence.

Acrylic on canvas.

Mixed Media: Acrylic & Sand Texture.

  

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Elena Gorn