The basic components in Zinovich’s work are color and form. The rich colorfulness shifts from turbidity to eye-blinding brightness, and the formatting shapes have organic, biomorfic and sensual character, they are not easy to interpret but they do hold a physical presence, continuously moving between the figurative and the abstract. Though the use of color seem bold and self-assured, the shapes have a rustic quality, initial and with some hesitation, unfinished.
These two components maintain equilibrium between the two forces of the line creating the form, and the color that breaks it. Fast, frizzy brush strokes seem to scratch the surface of the painting and uncover the internal organs, which try to break free from the limitation of contour to other areas in the painting. This struggle reflects the feeling of a constant action, construction and deconstruction repeating them selves as in an accelerated cycle of nature.
Zinovich’s painting is the consequence of a mental process, spontaneous and extremely expressive. His works assert a scream coming from inside, a retching of the body. Zinovich searches and reveals layer after layer, like in a x- ray of the soul. His originality is in establishing the painting, not on the concrete image, but on color and the materialization of the working process. Seemingly his work is a continuation of the abstract traditions of the Israeli movement “Ofakim Chadashim”, but a deeper look exposes a pictorial ambivalence. This ambivalence is also expressed in the gap between Zinovich’s abstract pictorial manner and the narrative titles he chooses, illustrating the act of creation from inside a closed world and the difficulty which is an un-separated part of his practice. Difficulty in the sense of persistence, uncompromising repetition, the layers of color, the covering, the attempt to establish a form, and also the birth of the works from a never-ending inner battle.