The very nature of Margolin’s painting is consonant with the ideas of expressionists. In his practice he is brought irrationally to archetypal images and eternal subjects such as Oedipus or Job.

The creative process for Margolin is associated with persecution of certain inexplicable impulses. The artist depicts not what he sees or the cultural memory dictates, but such subtle impressions as a familiar smell from childhood or an intense colour. He tightly shuts his studio door from any audience: this creative kitchen cannot be described in words. The comparison with culinary is more than appropriate: Margolin admits that painting resembles cooking — prosecution and embodiment of a certain taste idea. 

Indeed, when looking at the lines of Margolin’s etchings or when studying the texture of his paintings there comes a feeling of a very sensual nature of these works. Even the fundamental function of art as a means of self-knowledge and learning the world he finds illusory and inapplicable to reality.

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