Sorry, 2025
Painting : mixed media · 60 x 40 x 2 cm 23.6 x 15.7 x 0.8 inch · Ready to hang
Shipping & delivery
Shipped from: Israel
Delivery to: United States , $ 150
Estimated delivery: One to two weeks
Free returns within 14 days, full refund
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Verified Reviews : 9.6/10
About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
60 x 40 x 2 cm 23.6 x 15.7 x 0.8 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • Israel
Credentials
Vetted seller since 2026
Description
This artwork is a striking mixed-media piece that artfully combines contemporary commentary with traditional symbolism. The canvas is covered with layers of newspaper clippings, their black-and-white text lending a textured backdrop. Dominating the composition is a bold, deep red ribbon, diagonally crossing the frame, tied into a bow that evokes both a gift and a barrier. Attached to the ribbon is a white tag with the word "Sorry" inscribed in elegant script, suggesting a poignant message or apology. The juxtaposition of the vivid red ribbon against the monochromatic newsprint creates a dynamic visual tension. The deliberate choice of newspaper articles, subtly visible beneath the paint, implies underlying themes of current events and societal observation. This piece uniquely blends the ephemeral nature of media with the enduring symbolism of wrapped gifts and apologies, making it both visually arresting and thought-provoking.
Presentation
Dekel Harari is a contemporary mixed-media artist, his practice explores routine, repetition, information overload, and the moment when habit takes control and the mind stops questioning. Newspapers are his primary material. Not because of their content, and not because they are free, but because of their physical presence — their texture, weight, fragility, and the quiet familiarity of the object itself. He changes their function. Instead of reading them and discarding them, he cuts them, paints over them, and constructs with them. Sometimes, they even re-enter circulation as artworks. The question, for him, is not simply what we do, but when an action ceases to be automatic and becomes a conscious choice. And what else might shift, if we paused long enough to actually think
Reviews from our customers
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