Once I was at the Anna Ticho House, I nipped upstairs for a quick visit to the regular exhibition space. After a day of looking at the photography and prints section of the Jerusalem Drawing Biennale, Anna Ticho's familiar drawings struck me anew. There is something incredibly moving about the sense of infinite patience in her large charcoal drawings. You feel that she would be happy to rest forever on each blade of grass. There is no hurry to get done, no worry about a final product: it is all in the process, in the loving contact of mark with landscape.
I was reminded of my thoughts at the Sotheby’s auction of Israeli art last year. For me, Ticho's work embodies within it the innocence and idealism of early Zionism--the dream of regeneration through contact with the soil, the melding of soul with land. Something in the complete unison of philosophical commitment with material expression makes these relatively unsophisticated drawings more complete works of art than most the sleek modern works of the biennale.
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