The first impression one draws from David Kessel's artworks is surely an overwhelming sentiment of joy--even jubilation, emanating from explosions of raw colors and their derivatives. Writings on his work relate unanimously about this, often associating his palette to Fauvism. In all likelihood, one would also have to add Northern European Expressionism (the Cobra Group in particular) and Pop Art to such an analysis. But above and beyond color, what transpires as the single most distinctive aspect of his work is his ability to convey what we could define as "a synthesis of forms". As found in stained glass, in Valerio Adami’s paintings, sometimes in Matisse or Picasso, David achieves a simplification of areas, a sort of “essence of primal forms”, in which he divides up space in black contour lines filling up the isolated zones with monochromatic shades. These areas are often complicated by geometrical figures (squares, rectangles and others) that shift them on superimposed planes to refine and restructure the resulting ensemble. The image achieved appears simple but the process of simplification used, is in fact “elaborate”. The apparent ease in achieving this while undergoing a complex process yields pictures that blend in the most “natural” and “obvious” way… It reminds us of the false simplicity in a Matisse brush stroke…

David’s past as an illustrator possibly helped him achieve such purity and efficiency in pictures. We also find traces of “discrete complexity” in the wide variety of materials used (oil, acrylics, watercolors, pencil, canvass, textiles, paper, wood, common objects, etc.). I am only referring here to David Kessel’s “grammar of picture”, with the firm belief that ultimately in painting, the only thing that matters is the painting… Nonetheless, for the purpose of analysing his work, it appears essential to make an exception. His universe is so sensual, so warm, so “happy to be alive”, to love, to feel, so exuberant, playful, so keen on preserving the innocence and eagerness of childhood, that it is impossible to ignore inexorable feelings triggered in us. We share the happiness of his vision of the world, a vision that is both rare and salutary, filled with astonishment and hope. We detect, hidden in the false evidence of happy themes, existential questions: the happiness of clowns evokes human tragedy, the flamboyant Amerindians also refer to their massacre, the festive “Belle Epoque” is nostalgia for the past, the “indoors” become nightmares and doors lead to intricate passages and labyrinths… The tragic Ashkenazi destiny of our generation that is omnipresent, but that he is always fending off, leads him to resort to this remarkable resistance of constant humour…His smile about life, his modesty and the shapes he picks always succeed in hiding anxiety-provoking aspects by talking about joy, happiness and colors. And this really sums up the human being that David is, against all odds, he remains playful always laughing at everything…

ALAIN KLEINMANN