The term autism stems from the Greek autós, signifying self, and a limited interest in others is often viewed as a central trait among those on the spectrum.

Yet a fresh display by creators residing in the central Israel therapeutic community of Kfar Shimon challenges this notion, showcasing joint pieces made by adult spectrum artists. The Feelings In Between exhibition launches July 8 at the Jerusalem Theatre and continues through August 30.

The images, each produced by two to five creators, radiate with intense, lively hues that are nearly impossible to capture in words. They are also elegantly arranged, frequently incorporating unique elements that enhance surrounding patterns. Viewers may find the idea of something greater than its individual components coming to mind. Every detail in these works, whether paintings, sketches or hybrids, stands out sharply. Combined, the elements merge into truly striking compositions.

Exhibit notes explain that for creators generally, and especially those on the spectrum who often value structure, defined limits and known environments, sharing a surface and painting with another can feel counter to habit. Still, across these sheets a subtle exchange of influence and wordless interaction emerged. Painting became an avenue for connection through small shifts in motion, hue selection or unexpected style adjustments. This held added weight amid air-raid alerts, when sessions paused for shelter time before resuming.

As noted, the artists mostly worked together without spoken plans about contributions. In conventional art classes, joint assignments might spark rivalry over prominent sections or recognition. Here the Kfar Shimon creators show no concern for coverage area or sole ownership.

The truth is this approach seems possible only with individuals like these, as if ego plays no role, observed Nvo Sevori, the instructor leading the art workshop at Kfar Shimon who originated the collaboration concept.

He also organized the Jerusalem Theatre presentation.

It is worth noting that one participant is my son Danny, placing me far from impartial. Even so, others share my admiration. Since Danny joined Kfar Shimon nearly seven years ago, two earlier displays occurred, one at ArtSpace Tel Aviv in 2024 and another at Tel Aviv University in 2025.

Prior exhibits took place at the Presidents Residence among other sites. The art at Kfar Shimon impressed me from my first visit, including not only canvases but ceramic planters, a tiled sculpture area, wall paintings, wooden playthings and varied crafts filling open spaces. Director Oded Korati promotes art for self-expression and daily activity.

When Danny received the chance to relocate there, the workshop list suggested he might skip art, given his past disinterest in drawing or painting.

Yet he joined Sevoris sessions, where patient guidance sharpened his abilities and increased his enjoyment.

Unlike programs that steer special-needs participants toward uniform styles, Sevori urges each to celebrate personal traits.

Danny, for instance, favors ceiling fans and often depicts them as calming, appealing forms. His contributions are easy to spot by locating fans. He has also adopted crisscrossing short lines, a new element traceable in shared pieces. All participants maintain distinct approaches and repeated motifs, yet their output shows gradual, significant evolution under Sevoris direction.

Sevori proposes rather than requires collaboration, typically when someone finishes a solo piece and seeks a fresh start. Works stay posted in the studio for optional additions.

An artist and musician teaching at Kfar Shimon for over ten years, he brings extensive spectrum experience from prior roles and builds strong connections with participants.

They work quietly alongside him, music playing as they draw. Questions arise occasionally, or he offers tips. Joint pieces develop gradually and organically. There is no formal plan, only reactions sparking further reactions, more like instincts unfolding in the moment, he explained.

He added that they readily accept shared canvases: They simply enjoy blending everything together.

Creating an atmosphere for autistic expression

Sevori minimizes his own role yet has established the key environment allowing free expression. I supply paper and colors, learn their preferences and ease of materials, and aim to keep sessions enjoyable. That is all.

He draws on his artist background to motivate them and views creation as therapeutic for both: It is an hour of enjoyment with colors, free from mental loops, and productive. I consider this ideal therapy for myself and seek to share it.

Sevori observed that collaboration occurs more often in music, where many joint efforts exist, but remains rare in painting and thus distinctive. Several artists also perform intricate jazz improvisations on keyboard. Though my son does not play, he studied piano and shares a broad love of music with many peers.

Dr. Batsheva Ida, curator of the Jerusalem Theatre galleries, praised the show enthusiastically. What distinguishes the Kfar Shimon drawings is their figurative quality, featuring human forms and identifiable details, beyond pure geometry.

They align with Aboriginal and Maori traditions and certain self-taught creators in using color to express feeling.

Ida likened them to Israeli self-taught artist Imry Ben-Gera, influenced by those traditions and employing colors, dots and shapes for expression. Several Kfar Shimon artists frequently incorporate dots, swirls, squares and similar forms.

Finding such powerful emotional use of color is uncommon, she noted. The work serves as a mirror of the soul with almost magical effect.

Like Sevori, Ida sees recurring personal interests, such as fans or geometric patterns, indigenous figures in vivid attire and other motifs, as strengths rather than limitations.

Their natural pull toward repetition suits art well, since viewers encounter repeated imagery in many designs.

When discussing art we often reference trained professionals with exhibition histories and biographies, yet we also encounter those who begin independently, sensing their direction without formal study.

Ida noted that while the Kfar Shimon pieces stand apart, joint art has historical roots. Surrealists in France and the United States frequently produced shared images, with Matta, André Breton and several others combining efforts on single works.

One consideration is whether the artists value gallery recognition. Sevori believes the attention registers strongly even if verbal expression is limited. They sense when people appreciate the work.

Ida concurs that impact extends past exhibition spaces. The artwork becomes more than a product; the process itself carries social value. For those often inward, that social element proves beneficial.

For families, the shows bring welcome surprise. Professionals once predicted limited futures and constant care needs when the children were very young. Yet these individuals contribute meaningfully, drawing interest from strangers.

Parents display pieces at home, while collectors worldwide have acquired works from recent exhibits.

Families on conventional paths may not grasp this alternate journey. That our children connect with others through art remains both surprising and uplifting.

Recognition clearly matters to the artists. My son, who speaks yet cannot fully articulate his fan fascination, replying they are beautiful or they move quickly, showed clear delight at prior opening events.

When discussing shows he recalls attending friends and relatives, which pleased him.

Will they attend the new show, he has asked recently.

Lots of people will come, I reply.

He smiles.

The Jerusalem Theatres galleries present art in the capital

Feelings in Between forms part of a wider program at the Jerusalem Theatre, a venue uniting stage, screen and visual arts through original projects linking concepts and creation.

The exhibition schedule features eight galleries with rotating displays of contemporary works in photography, acrylic, oil, ink, watercolor and prints, alongside gifts and extended loans.

Shows addressing social and community themes remain central, with director Sharon Abramovitch-Yardeni and curator Dr. Batsheva Ida viewing the galleries as part of evolving art-world dynamics where museums no longer hold sole authority over artistic value.