In the series STAIN, Amnon Yuhas formulates an apocalyptic scenario where the solitary individual faces an infinite wasteland or scrutinizes the ruins of a town. Yuhas reiterates the solitude obsessively. The use of ink on paper enables him to extract and concentrate the proclamation in a multitude of minimalistic formulations. While in his oil paintings he was required to plan and be meticulous to achieve expression worthy of his standards, here he yields to improvisation, association and restraint.

The starting point is a blank page on which are placed two ink stains that Yuhas manipulates to trickle and then guides them delicately until they form an image. At this stage, he restrains the urge to thicken the statement, leaving the figure in the space created, and repeats incessantly in the next page. The tension between the stain and the void results in an ascetic result, exciting and disastrous as the artist’s surrender to the ink stains.

While the figure fills the spectator with the need to tell a story, the void created stimulates deliberation on survival and redemption, fear and daring, vision and liberation, salvation and cessation, life and death.
STAIN – the exhibition’s name, reflects the foundation of the artist’s desire to leave an impression as a stain on a page in a unique persisting voice:

I would be alone in the barren time
when the heart withers in slow decay.
Unseen. Unknown. No stranger understands.
Let me grieve alone in my silent pain.

Hayyim Nahman Bialik from “On a summer’s day” translated by Herbert Danby