To create the most recent works in her series Night in Be’eri, Jelin worked in her darkened studio, harnessing photography to project images onto canvas. She utilizes archival, familial, and personal snapshots, captured during walks around her neighborhood, to render her compositions. Draftsmanship too figures prominently in her process, revealing naturalistic scenes whose realism exists in shared harmony and tension with her drips and washes of pigment. For example, in Clouds (2025), Jelin presents a familiar vantage of treetops, her photographic framing suggested through the immediacy of her asymmetrical composition. Composed of semitransparent paint, her dense clouds appear low in the sky, streaked with lines of falling pigment that are at once conceptual and referential to rain.

Jelin has long worked in a restricted palette in order to focus her diaristic scenes. Her recent canvases notably reveal the artist using cool tones of blue and purple—a distinctive shift from her earlier palette in which hues of red and black were predominant. Jelin has poetically described this color scheme as representing her feelings of solitude, reflection, and the void following the attack on Be’eri on October 7, 2023—as well as symbolizing dusk and night. Streetlamps and artificial lighting are central to Jelin’s nocturnal tableaux, illustrated by her austere white backgrounds, such as in Streetlamp (2025). Here, tall trees stand amidst a thicket of vegetation and a walking path, starkly illuminated by two bright lamps. The pronounced tonal contrasts between blue, purple, and white are accented and tempered by a sheer wide sweep of light fuchsia, lending an element of surreality to the landscape. Taken together, the new body of work on view demonstrates Jelin’s distinctive portrayals of place and home, as well as her melding of painting and photography—through which she explores memory, time, identity, and belonging.

Courtesy Lévy Gorvy Dayan.