Some kabbalistic and midrashic conceptions express the idea that the first man, Adam was dressed with a garment of light, smooth and transparent like nails and as beautiful as luminous pearls.

This garment attests to a heightened spiritual state in which rarefied and purified matter becomes full form. After the man ate from the tree of knowledge of good and evil, he lost his primordial light. This transformation is signified by the substitution of the letter aleph in the Hebrew word ‘or that signified light, with the letter ayn the first letter of the word ’or meant skin. The garment of light became a garment of skin, a material envelope that obscures the light.

In these works the creative process seeks to transform these garments of skin (felt coats) into garments of light. This implies looking through the original light skin. The skin is compared to the wool fibers that become smooth and felted in interaction with the water and the warmth of movement.

This felt coat remains us of the clothes of an angel, who has passed by and left the mark of his presence. The coat's rectangular form with round corners evokes the human cell. Notions of light and shadow guide this creation. The shadow is said to be the simplest form. The light comprises different aspects, the inner light, the surrounding light, the straight light and that which comes back and is reflected.

The process of realization has consisted in hardening and drying the felt, which then was dressed with silk and covered with pearl powder that gives a white and reflexive light recalling the morning light. A Mongol blessing aimed at felt workers confirms my acts and the whole process: "May your felt be white like shell, strong like bone and as beautiful as silk".

The idea that we are the shadow and that He is the form and vice versa that we are the form, and that He is the shadow guides the creation of the luminous shadows, of the forms inside the forms, traced with charcoal, colors and Indian Ink. Those forms derived from the mineral, vegetable, animal and human world, suggest a game which contains tension, disruption and the path to improvement culminating in pleasure and joy. One can discern and discover lions, storks, eagles, bears, rabbits, elephants, stags, snakes, horses, birds, plants, angels, dancing shapes of women and men, owls, rhinoceros, giraffes, etc.

According to the Iranian mystic, every thing has its own angel – and the artist yearns to see the angel behind the thing. He will therefore paint what he sees in front of him as well as what he sees in himself knowing that the angel is not a model but a sheer presence to be retained on the canvas with a patience dictated by reason and with heartfeld spontaneity. It will be felt in the expression on a face, a leaf, a cloud, a reflection, a moment – the work endlessly renews itself under the beholder’s eye while its many lives are never exhausted. Sometimes a work can only be approached by means of the shadow it casts; then it makes one sense that the work fulfils itself well beyond the beholder’s eye. This is precisely what happens with Abraham’s cloaks of light.

The shadow of the light – these two words naturally come to mind, with their apparent contradiction and their secret alliance, as the most accurate expression of Abraham Pincas’ art, with its unique way of lifting high what had been perceived in the nocturnal depths of the soul. He exposes the mystery into broad light, vision becomes the perceptiveness which enables to discern unity within duality, here expressed in accord with shadow and light.

Shadow and light of the inner vision but also surfaces and volumes, clay, rock becoming wall within the premonitory cave, coal and chalk, shape and matter, this other duality of the physical world, gathered by the artist so that the sense may be transmitted, enlightened and revealed through the senses.

Skin and light of the entirely transfigured cloaks ; the bright shadows of the shapes drawn in Chinese ink and charcoal disclose unlimited motifs – eagles, wolves, lions, birds, fauna, donkeys and bulls, female faces within the heart of a rose, and, here and there, angels, the angels. The pleasure derived from the deciphering of figures and shapes suggests that Abraham Pincas’ art is an art of desire, the object of which will reveal itself as infinitly desirable.