Uriel Miron's art embodies a search for the elusive state in which an image’s identity becomes unstable, in which it wavers between different possible interpretations, between the familiar and the exotic, between the prosaic and the imaginary, between the figurative and the abstract.
For Miron, ordinary man-made objects are imbued with potential life, which manifests itself when they engage with his imagination and sensibilities. Miron sees imaginary beings lurking in every artifact and material of human design and industry, creatures waiting to be discovered by the artist, to have their limbs and organs counted, to have their physiognomies invented.
       The hybrid skeletons and anatomies that populate Miron's work originate in such ordinary objects and materials as plastic lawn chairs, cardboard boxes, a pile of dog-eared paper, a memory of an old armchair or a pair of socks. Every piece he makes is at once both a formal dissection of the specific structure of the object (he treats his paintings as objects as well) and an imaginary reconstruction of a hitherto non-existent being, an invented memory, a brand new fossil.