were painted isolated in an empty space, detached from their surroundings, attesting to the
present absence of that which was concealed within them.
In her essay for the catalogue of his painting exhibition at the Israel Museum*, Talia Rapoport notes that,
as opposed to the perception of the chair as representing human presence, the chair in Natif's paintings
does not represent the absent presence of a particular person, but rather states of the soul which
transcend the personal level, reflecting a universal existential feeling. The paintings convey a sense of detachment, non-belonging, alienation. Unlike the alienation emanating from the series of chairs,
the jar paintings impart a sense of closeness. Even though the jars in these paintings too,
are cut off from their surroundings, the sense of absence is not present. The jars exhibit a powerful
presence; albeit secluded - they are not solitary. Here too, the question of containment emerges;
however, while in the chairs' case the absence of content was clear, in the case of the painted jars -
the question of what is contained within them, remains an open one, like an unsolved mystery.
and his paintings play the quiet music of the soul, the melodies of those whose lone togetherness
recounts metaphysical existential difficulties. In comparison to these, Natif's jars communicate immense
vitality. Even though they are painted with restraint and ascetic frugality, they convey a great deal
of power, a sense of belonging, and self-confidence.
