Now finally, epiphany has happened, a series on the theme of Redemption is begun. Today, it contains some forty large works, none of which have been on public display so far. In these new temperas, the calm of the last Klippoth works pervades the pictorial space, but one immediately feels that this is a calm of a different order.

The artist refers to these works by the Hebrew word for Restoration, it is Tikkun. Tikkun is animated by the redemptive process of charity to others and restoration of the person, its symbol is the rebuilding of the temple. How does an artist achieve such transformation of expression?

Every new mood, every new vision demands its own appropriate form. Technique, design idea, and composition down to its last element, must all flow together to yield the expressive means that will best develop the engendering image, and serve the artist’s intentionality, express his idea.

The beauty of expression in Jan Menses' latest works is first signaled by the calm dignity of their style. Gone are the sweeping gestures, the billowing softness, the nervous ecriture of the Kaddish drawings, the clinical hardness and the sharp edge of the late Klippoth paintings. Gone is the diagonal composition with its dramatic tensions, gone the sudden contrasts of tonality, gone the irrational spaces of slanted planes. In short, gone are all the formal elements of disharmony.

Now, the chiaro-scuro is toned down to well-tempered graduality. Suddenly, structural elements, like posts and beams begin to appear in these noble classical compositions, the temple is to be rebuilt. Faintly at first, but in gradually more insistent plasticity, an image of a human figure makes its appearance. It is a figure that stands tall, serene, majestic. The observer is captivated by its spell. It is the presence of a Redeemer.