• Through bis tecnique, the virtuoso Sasha Okun fuses imagination and realism, symbolism and naive simplicity, subtle humour and a well-balanced dosage of classical teachings of Western tradition and Russian icon paintings, together with what seems to be an uncontrollable touch of Jewish culture...
  Hanah Kopler, "4*4", Nb 57
  
• Alexander Okun has gained a fine reputation for charmingly eccentric pseudo-altarpieces containing small objects, human figures and animals. The sources he calls up are amazingly diverse, ranging from Flemish and Baroque painting, Russian icons, early Picasso figures and characters plucked from Jerusalem's Mahaneh Yehuda market His latest piece in the same vein, nine meters high, made from papes, plastic and painted wood, is the jewel in the crown of his new sprawling installation. The Gate of Settlement", a work which takes a satirical look at the materialistic and venal concerns of contemporary society. Okun's relief is based on the facade of a Gothic cathedral, but its traditional rose window is replaced by a circular table set out for a meal (symbol of gluttony?), while the niches usually reserved for sculptures of saints and martyrs are occupied by 17 gods of Okun's devising: among diem, Che God of Government depicted as a beast of prey; and the God of the People as an edifice made from kebab skewers, newspapers and cassettes.
  Angela Levine, "Jerusalem Post"
  

1982 | 1985 | 1986 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1998 | 1999 | 2006 | 2008