Draft:Avi Kenan

Early life (1951–1977)

Avi Kenan was born in Casablanca, Morocco, on June 5, 1951, to a family of Jewish-Spanish descent^[12]. In 1955, at the age of four, he immigrated with his family to Israel ^[13].

Kenan demonstrated an early interest in forming and casting objects; a formative childhood experience involved cutting a plastic toy in half to create a plaster mold, which he then cast and painted ^[14].

In 1978, Kenan relocated to Europe with his then-wife, Ronit Kenan ^[15]. Throughout his career, he has stated that a central philosophy of his work is the belief in art as a medium to connect people ^[16].

Education and early career

In the late 1960s and early 1970s, Kenan began experimenting with various materials, eventually focusing primarily on bronze ^[17]. His figurative works from this period often centered on themes of the human condition ^[18].

He briefly pursued formal art training, studying for several months at the Beth-Rothschild Institute in Haifa and attending classes at the Bat-Yam Academy ^[19]. However, he left these programs, later stating that he preferred to develop his art independently of traditional academic conventions ^[20]. According to Kenan, he avoided visiting art galleries and reading art publications during this time to maintain his individual style ^[21].

Kenan's first public showing was at a local cultural center ^[22]. In 1972, he participated in a group exhibition in Haifa, which led to subsequent exhibitions at venues including the Bat-Yam Museum ^{[23][24][25][26][27]}

Relocation to Europe

During the mid-1970s, Kenan continued to exhibit in Israel but expressed a desire for a broader international market, citing constraints within the local art scene and pressure to alter his artistic style ^[28].

In 1976, Kenan held his final major exhibition in Israel before his departure ^[29]. Following a meeting with a European art dealer, he began preparing to exhibit his work abroad ^[30]. In the spring of 1977, he traveled to the Netherlands, where his first European exhibition opened. According to reports, the entire collection of works sold out during his first exhibition there. Following this exhibition, Kenan chose to settle permanently in Belgium^[31].

Career in Belgium (1978–present)

In 1978, Kenan established his residence and studio in Antwerp^[32], which became his primary artistic base^{[33][34] [35]}. He has cited the city's cultural diversity and local art scene as significant influences on his subsequent work^[36].

During his early years in Belgium, Kenan's work gained the attention of Dr. Michiel De Bruyne, a Belgian cultural official ^[37]. It was Dr. De Bruyne who first referred to Kenan as "the Salvador Dalí of sculpture" in his writing about the artist's work ^[38].

Notable presentations and recognition

Throughout his career, Kenan's work has been recognized by and presented to various international dignitaries and state leaders. He has formally presented his sculptures to Pope John Paul II, King Albert II of Belgium, and Israeli Prime Minister Yitzhak Rabin^[39]. Additionally, his exhibitions have been held under the patronage of royalty, including Princess Antoinette of Monaco^[40][41].

Philosophical themes and advocacy

Kenan has articulated several philosophical themes that inform his artistic practice. He frequently addresses the concept of peace, which he defines as the presence of harmony and mutual respect rather than simply the absence of conflict ^[51]. He has stated that his work is intended to encourage inner peace and transcend cultural boundaries ^[52].

Additionally, Kenan utilizes color as a metaphor for personal choice and possibility, encouraging audiences to "paint life in your own color" and embrace diversity ^[53].

Beyond his own artistic output, Kenan has advocated for increased financial and institutional support for emerging artists. Noting the tendency for art graduates to leave the field due to economic pressures, he has publicly urged society to prioritize arts funding, stating: "Please, give artists some support after their studies, don't let them disappear. We need more Rubens! Buy fewer weapons and invest in the artists!" ^[54][55].