Between 2019 and 2025, the paintings of Shony Rivnay evolved into a highly personal abstract language built from biomorphic forms, rhythmic movement, and an almost improvisational approach to painting. Across these years, the works consistently balanced spontaneity with structure, moving between microscopic organic imagery, emotional gesture, and symbolic abstraction.
The paintings from 2019 — especially those connected to the exhibitions Unfolding, Wave Theory, and Nature of Wonder — are characterized by floating cellular forms, branching lines, and energetic color fields. Shapes resemble microorganisms, roots, waves, internal organs, or fragments of scientific illustration without ever fully becoming representational. Rivnay often worked with the canvas laid flat on the ground, moving around it physically rather than painting from a fixed upright position. This gave the works a non-hierarchical orientation and a sense of movement unfolding in all directions.
These paintings frequently combine acrylic, oil, polyurethane, and epoxy, producing layered textures that oscillate between matte and glossy surfaces. Color became increasingly intense during this period: acidic yellows, deep blacks, electric blues, saturated reds, pinks, and luminous whites collide in compositions that feel both chaotic and choreographed. Critics and curators repeatedly described the paintings as “organic,” “rhythmic,” and “wave-like,” often connecting them to natural systems and bodily processes
A new book of paintings by Shony Rivnay. Featuring texts by Naomi Lev, Jessica Holmes, and an interview with Jason Rosenfeld. Design by Noa Schwartz.
