By Yair Shulevitz (March 31, 2022)

Michal Biber's new works raise questions about the power of the case in the work and whether what appears to be the case is indeed such.

Following a difficulty in the course as part of cultural studies at the university and on the advice of the lecturer, who recommended that she respond to visual images that accompany the text shared in the lectures, she begins to draw on the images with a conceptual affinity to the subject. Slowly she begins to respond freely to images without commitment to the given subject.
This leads her to another step: take fabrics, pour paint on them and let near the case act. Random spots are formed when hints of images sometimes flash when Biber chooses to give them expression.

It is possible that the result of the course was, in fact, a process that had already matured before, and it served only as a catalyst for the future to happen anyway.
A look at her early works upon graduation from Bezalel reveals a resemblance to the series of new works on display in the exhibition in terms of the free stain and the intense color.

This connection illuminates again, that in an artist's work cyclical processes of back and forth take place and that even after many years, the development, transitions and changes in them, still remain basic elements in the pictorial manuscript that create a recognizable personal language.

The spontaneity and freedom in the new works signify freshness in the sense of the desire to do, even though they were created out of external constraint.

Michal Biber is an artist who seeks precise expression tools that are unique to her without squinting at fashionable spirits. She feels that she needs the anchor of the painting from observation, and at the same time she does not want to lose the freedom that exists in painting from the imagination that is not bound to the image.