Born in New York, Yotam Keduri has been based in Jerusalem since 2005.

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Though I love abstract painting for the freedom it grants from that 'tyranny of perspective' that forces viewers of Canalettos and Fischls alike into a single spatial relationship with the canvas, the one thing that's always been missing for me is, well, Everything: the cracks in a Renaissance plaster wall; the cartoony black lines of a Gustonian hand with cigarette; the cross-hatchings, in paint, that hem in post-impressionist flowers; Hiroshige's distant mists of Edo. Wood. Rusted metal.

After years of painting on adjoined canvases and wooden squares of different sizes, I think I've found a way to secure that freedom while conveying that very concrete love affair the painters I love—De Chirico, Chardin, Jakuchu, Hokusai, Morandi—have always had with form, depth and space: Paneled paintings whose breaks interrupt visual continuity in a way that allows us to inhabit these places without being locked into a single viewpoint. Instead, to just appreciate them aesthetically, as 'environments.'

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By predilection, I'm a painter of abandoned places: urban environments, from crosswalk shrubbery to bat cages at the zoo. They're the perfect places for this kind of treatment.

Almost as a byproduct, the ordinary becomes extraordinary.