Pinhas Golan, holocaust survivor (born in Hungry in 1924, immigrated in 1948), "tells" the story of the door which was slammed behind his family who were expelled from their home in Hungry to Auschwitz, and from here on this image accompanies him in consciousness and in his dreams. Beyond the many meaning the artist gives to the "Blocked Gate" and beyond the symbolic load the gate places on his shoulders in overall culture in geneal and in language in particular, this image drove hime to create a series of works calledthe "Blocked Gate" with screaming aesthetics of American-German expressionism, bursting out and finally conquering. Were it not for the background of the artist and the excess of his direct messages due to sane democracy, I would define hime as an unequivocal aesthetic with strange obstacles here and there, but he himself claims that aesthetics detached from extra-aesthetic content is not possible, and therefore, I do not know if he aspires to this crown. His technique is lively, the format is of a painting-photo, but it is more a relief that touches and approaches sculpture, a flowing collage of materials, colors, texts, etc. In one of the works the hammers hammer on the wood like echoes and give double validity to the concept "blocked". Pinhas Golan talks about intuitive choice of materials as a guiding principle in his work, and when seeing the works we can see that something is burning, demanding, storming, until a natural connection is created between the various materials, their organization and their manner of presentation up to the completed work. And thus it is that the old in the group (who lives) connects through clear contemporaneousness with the young in the group.

Kol Ha'ir, 16.7.99, page 20