Liran Verdial’s language does not surrender to one clear definition. It moves on a delicate axis between figurativeness and geometric abstraction, essentially dealing not with form, but with a state. An emotional, internal state, one that exists beneath the surface.
Ofri Paz | STANNEL
The painting begins with a decomposition. The form breaks down into surfaces, lines, sharp angles. The perspective straightens, the depth is reduced, and the space becomes precise, almost mathematical. It has a clear order, clean lines, uniform colors, well-defined light and shadow. But the more you look, the more you discover that within this order there is tension.
The characters, sometimes faceless, are present but do not surrender. Sometimes they turn to each other, and sometimes they exist side by side without touching the truth. They seem to be trapped within the space, not only physically but also emotionally. They are in a frozen moment, one that has no beginning or end, only a quiet but charged presence.
2025 Childhood yard
Thoughts in the bathtub 2025
“In many ways, these are not external figures at all. They are variations of myself, different reflections within the same space,” says Liran. The painting becomes a field of dialogue, between inside and outside, between control and loss of control, between trying to understand and accepting ambiguity.
Within this language, folding occupies a central place. Not only as a visual element, but as a principle. Lines break, surfaces fold, angles are created from the movement of change. The fold carries within it a tension between delicacy and roughness, between flexibility and rigidity. It reminds us of how stable something can appear, and at the same time be on the verge of collapse.
Color works the same way. Limited, restrained palettes that balance warmth and coolness. There is no overflow here, but precision. Each color is chosen to create a feeling, not just a look. Within this minimalism, emotion does not disappear, it is sharpened.
It is a language that seeks to distill complex human experience through simple means. Form, color, light, and space, each reduced to its essence, to allow something deeper to emerge. This is not a clear story, not an unambiguous statement, but a feeling. One that remains even after you look away.
The Envelope of Pain / 2024
2026 Compassion
The balance between the two worlds, between the studio and the outdoors, between silence and exposure, is perhaps one of the most significant challenges for the artist today. It is no longer enough to create, one must also be present.
Over the past five years, Liran Vardial’s studio has undergone a quiet but profound process of crystallization and deepening. Not only has the painterly language become more refined, but so have the themes that have begun to recur in his works: tension, alienation, and the delicate relationship between figure and space.
“Being an artist in 2026 is no longer limited to creating in the studio. It is a position that exists in several arenas simultaneously, between intimate and quiet work and a presence in the outside world. The artist is not only a creator, but also part of a broader system, one that requires familiarity with the field, meetings, exhibitions, and an ongoing dialogue with what is happening around him. Amid the great abundance of creation and artists, the challenge is no longer just to produce good work, but to build a language. A personal, identifiable language, one that relies on a clear internal story and manages to remain consistent over time. It is a work of observation, but also of choice, of what to include and what to leave out. At the same time, more and more artists today operate independently. They create direct contact with an audience, work through digital platforms, and develop a presence that expands beyond local borders. Social media has opened up new possibilities, but has also changed the pace of work and expectations from the artist,” says Liran.
Where Flowers Once Reached For Us 2025
In Between / 2026
In 2023, Liran Vardial exhibited in several group exhibitions, the most notable of which was held at the Imperial Hotel in Tel Aviv, curated by Yaara Sachs. An origami installation was built inside one of the hotel rooms, a moment when the pictorial language went beyond the boundaries of the canvas and became a real presence in space. What began as an ongoing engagement with paper folding in realistic oil painting, here took on a physical, almost architectural dimension, one that one could enter and feel.
Two years later, in 2025, he participated in the exhibition “Playground” at the Theo Center in Herzliya, curated by Carmit Shein and Tamar Lamdan. The exhibition examined the concept of childhood games, but from a more complex perspective, one that explores tensions between the individual and the many. Within this context, Verdial’s works continued to engage with that delicate area where characters share a common space, but do not necessarily truly meet. Proximity exists, but so does alienation. A sense of belonging is undermined, and distance is present even when it is not visible.
For the past two years, Vardial has been working on his first solo exhibition, with the curatorial guidance of Carmit Shein and Tamar Lamdan. Their encounters are infrequent, but each one is precise, a moment of pause in the process, in which the work is reexamined and given a clearer direction. The exhibition, expected to open in 2026, brings together a new body of work that refines the artistic language he has developed, and especially his engagement with interpersonal space through architectural painting.
Behind all this is an intimate and consistent work process. The studio becomes a space of repetition and dedication, days that begin quietly and continue until late at night. Many sketches are created, some disappear, others slowly develop into entire series. From this movement, between experiment and precision, a uniform, recognizable language is gradually built, one that is not in a hurry, but insists on clarifying itself at its own pace.
Saturday at the pool / 2024
Self-portrait / Liran Vardial
What series or projects are you working on these days?
The works I am currently working on are part of a series for a solo exhibition that deals with interpersonal space, that delicate and complex area created between two people who are together, but emotionally disconnected. I approach relationships not only from a harmonious place, but as an almost geometric structure – fragile, tense and sometimes frozen.
The paintings depict quiet moments within a relationship, moments in which there is no external drama, but there is a very strong internal tension and lack of communication.
The central element in my work is the idea of “folding”, which comes from the world of origami. Folding is both a formal language and a metaphor, and for me represents a process of trying to organize emotional chaos, to create order within something that feels
disintegrated inside, with both delicacy and a certain violence. The faceless figures allow me to move from the personal to the universal. In most cases, the figures are actually different variations of myself within the same space, in a continuous internal dialogue. This series is an attempt to honestly observe relationships, not from the ideal place, but from the cracked place, from the fracture I examine whether something new can be built.
Where can your works be purchased?
Every aspect of the sale management is handled directly through my curators Carmit Shine and Tamar Lamdan, through whom you can receive the updated catalog of works.
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Where design meets lifestyle
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Where design meets lifestyle
Where design meets lifestyle
