Thus her transition from silk to canvas was short lived. From the moment Shani turned to painting she immersed herself in this new creative channel, making it at once her focal point and vocation.
Although Batia Shani left her needles behind, her painting still contains many of the qualities and textures she absorbed as an embroidery maker, and in many compositions we can almost feel the rhythm of warp and woof. Her colorful work is always intuitive; Shani works without any plans or sketches, and each painting contains several layers. Each layer is dominated by a single color, a single texture, and one repetitive image. Shani uses drippings, brush strokes, and engravings to portray inner and outer landscapes and to individualize each layer from the other. Through this multi-tier process, where each layer covers the former and breaks its pattern, Shani brings an unpredictable element to the composition. Using this technique, similar to the ones used by artists versed in the traditions of embroidery, Shani composes a corpus, built from many fragments to form a new complex unit. The works create a mellow dialog between the premeditated act of layering and its unpredictable results, between every expressive gesture and the well-ordered final grids.The paintings present a center-less array and allow the spectator to observe it from different vantage points, and connect Shani’s work to decorative and ritual art while promoting a new non-hierarchical concept of art making.