The story of Arik Miranda's art is the story of Arik, the man with the felt-tipped pen. He is both the main protagonist of this story, and the only one absent from within its frame. Every exhibition of Miranda's work seems to constitute a point of temporary departure from this narrative, until the present show, in which the direct, linear drawings are the main catalyst for the works on display.

We see that Miranda's horizons have shifted from magazine pages, on which he has worked in recent years, to the artist's personal collection of photographs. These are works for the 'Instagram Generation': Miranda's photographs are fetched from an abundance of folders that remain unprocessed, with the exception of various favored filters, usually applied when taking the photograph. The printing of the images and the pen drawings are similarly direct, just like a desired signature on a t-shirt of record cover.

As in a radical response to the spreading pools of ink of Miranda's previous solo show at Hezi Cohen Gallery (The Luckiest People in the World, 2012), here the organic movement of the hand is reduced in favor of graphic layouts. In several of the photographs, Miranda allows the high-contrast outlines of vegetation or the light filtering through the curtains to veil the image with abstract forms. This immediate quality leads us to a domestic environment, to a private room suffused with adolescent dreams. This notion comes to form a full picture along with the wall drawings and the golden mobile piece, whose human dimensions suffuse the space with a melancholic sweetness. 

Through the ambivalent environment created in this exhibition, the play between the confessed versus the hidden is revealed to be a vital, catalyzing element in Miranda's world, whose glance is reflected from each of the works, from the direct and averted gazes.