Lavih Serfaty is a multicultural artist.
The works are on canvas, paper and aluminum. The painting are in acrilyc and water color.
The latest painting are painted on aluminum with acrylic color.

The use of bright and mono color is a result of a deep learning and understanding the power of the colors as it's affect people.
The color can change the atmosphere of the environment, can heal our soul.
The use of the right color in the right place can bring new and pure energy in our home.
"I use the theories of color therapy, "feng shui" and "chakra energy" in my painting.
The idea of making those painting is a result of long period of meditation and listening to music. Then I decided to paint with just one color according to state of mood I am, after I meditate.
The aluminum is folded before I put the color on. When the painting is hanging on the wall, the color change as the light is changing during the day, the shade accentuate the color and change them to deep, darker or lighter. It's fill the room with bright and clear energy. The colors I choose are from the Chakras colors, so every one who choose a painting can take the color he likes most".


Aquarelles
Lines have an important role in Serfaty’s aquarelles. They regulate the space, define its components, and at the same time differentiate among them. The lines also accumulate into topographical textures that vary in their density and direction according to the depicted area. Thus earth is usually characterized by a highly dense rhythm, while the sky, comprising spaced lines, is perceived as a fresh, spiritual environment. In addition, the morphological rhythm of the lines conveys a feeling of movement that seems to be inherent to Nature itself. The rocks, dunes, sky, and earth are not static, displaying a constant process of formation and development. Therefore, even in the absence of a stated narrative, the aquarelles present a dramatic occurrence anchored in the realm of Nature.


“…Most of my pictures were painted in the 70’s, when I had the opportunity of visiting the Sinai Desert innumerous times. I was deeply influenced by the movement of light, as it fell over the dunes, rocks, villages and some isolated houses, changing their colors gradually. It reminded me of the views of Morocco, where houses are painted white, with blue and turquoise windows, creating and impressive contrast with the reddish soil background. As the bright, glaring light was changing throughout the day, it reshaped the shadows and emphasized the contrasted colors of Nature…”.

Soil, Land, Territory. In a country where these words are a source of recurring conflicts, landscapes usually become dreamed places, sanctuaries actually. Painted on the borders of Israel, Serfaty’s aquarelles depict the richness of colors under a Mediterranean sun. Indeed, a painful, silent testimony echoes in the red, blazing rocks of Edom Mountains or in the scattered houses in Village on the rocks.

“…Borders are human inventions that artificially split the Nature’s flow. Standing on one side of the border, I could feel the magic, healing intangibility of Nature on the other side. Landscapes became accessible to my eyes and imagination in their entirety. When I painted the villages of Lebanon and the West Bank, I could encompass both sides and reconcile between them…”.

The wish for reconciliation is also apparent in other aspects of Serfaty’s creations. In his aquarelles sky and earth fuse gently and villages progressively emerge from earth. The human presence does not interfere with Nature’s forces, but adapts and adopts its immense rhythm, becoming an integral part of it. Serfaty’s use of aquarelle colors deeply emphasizes this process of integration. The transparent colors spread out the contours and bind opposite components of the painting.
The white background on which transparent colors are laid, functions as an inner source of light, that illuminates the whole painting from within.

The atmosphere in Serfaty’s late acrylic paintings is of yet another type. He intensively populates the space of the paintings with a large number of diverse shapes, creating intricate urban landscapes, playing with the illusion of spaciousness. Here is the tamed Nature contributing its amazing colors and brightness to the urban maze. In the case of Serfaty’s acrylic paintings, the pattern revealed is a joyful and intense one, full of strong, saturated colors.

We could point out other characteristics of his acrylic works as well. While his aquarelles constantly locate human action as part of Nature’s eternal mechanisms, his acrylic paintings decisively emphasize human order, presenting it as an alternative nature. The geometrical pattern of the houses, that in the aquarelles was hidden among rocks, hills, dunes and sky, now dictates the rhythm and the whole configuration of the paintings.

Light decidedly fulfills a major role in Serfaty’s paintings. Yet, while in his aquarelles the light seemed to be diffusing from within the painting, here the white color is thoroughly emphasized. As a result, it seems that the light comes from outside the painting, being absorbed in its radiant hues, enliven and softening them.