The power of Viner-Omer׳s paintings lies in their intense honesty. Viner–Omer infiltrates forbidden territories; one could even say she overtly bursts through anti–conventional boundaries as if they existed solely for the sake of being reformulated. She forges full steam ahead, to uproot another fenced–in area, to gain another foothold. Her paintings force themselves on the world, impolite and hard to swallow. They demand that the observer be fully alert, open to exploration and revaluation. Rakefet Viner–Omer also paints as revenge, turning the volume up high on long years of muteness. This is her space for taking action, and she oscillates back and forth between life and art.
This kind of painting is “bad”, of course, not just as a stylistic gesture, but rather by the intrusiveness inflaming the artist׳s vitality and freedom. It is also serious drawing, taking an ironic look at itself and at the world. Absurdly revealing and yet not completely decipherable, it increasingly dissolves in the direction of abstraction, towards deconstructing the concept of presence, both in front of and behind the canvas.

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