When I started working on "water" in 2008, my whole concern was to paint the human spirit. All of my human emotions were in the water metaphor for me. For years, I looked for the color of the water in the texture of the human figure. I made you dive into the depths of the water, and I built a world for it, and the water changed your body. Sometimes I focused on the human face, looking for traces of light and water on his face, sometimes I just painted water.
And now this adventure is taking me to new tissues. The water's not enough for me. My mind is also human, the soul of the outside, but visual images have become more complex metaphors, with more layered meanings. You know, the human being is a complex, two-bit structure. So instead of telling this contradictory structure that our reality carries with a single-layer image, I wanted to try a superimposed visual pattern.
In my paintings, the forms have illusions that force two dimensions with the texture and color capabilities of picture plastic. These images contain images of different lives that perform different actions in layers that are overlapped. Each visual element of the human inner world, their state of mind, creates new dimensions of existence in transparent layers, including animal figures that remind some layers of human existence. I intend to bring new meaning to events and situations together in a timely way.
It is important for me to duplicate the sub-meanings of the subject of the image and to reinforce the color and texture richness of the image with the images that overlap. I need a wide range of visual data to achieve this image wealth. So I do my preliminary work on the photos. I capture transparent images by combining photos with digital techniques. Some of them even turn out to be a solid jobs, with a very strong richness of color and texture. But what matters to me is the plastic of the paint… although I did the preliminary work of the painting on the computer, what I did when I went across the canvas is not so different from transferring a composition that is in front of me in the most traditional way to the canvas. I'm doing it by looking at the digital image that I've already prepared as if a nature mort is working. I paint textures, colors, and shapes. The process is becoming a process of the usual artist and model.
Couldn't I have shown these pictures? Why all the effort with paint?
This question is like a series of questions: If I was on my way to a nature mort, would I want to show the life itself? At what point does the picture become a tool? At what point is it an artwork?
The answer is hidden in the artist's purpose. It affects the result of the adventure the artist wants to share with the audience. And I think what I want to do is show that there are a few layers of preparation behind these pictures: All the preliminary work I do digitally with photos, all the calculations on the canvas, the same digital image that I have in the perfect state, with all the transparency, all the light, on the image surface, to paint colors. And then I'd like to convert it into the composition and the richness of tissue that a picture requires. The conversion of the photo to the colors of the paint, the light thinning of the paint…. The translation of the eventually departed digital image to the pictorial values….
I like the part of the paint that interferes with the meaning of the plastic, and I use it, especially in my paintings. In the process of creating the image, all the texture richness, and all the possibilities of painting, become richer with the possibilities of a digital image. Because these digital images give me new visual challenges that I can go after. I think in my exhibition that modern patterns can be captured by the plastic of the picture with digital possibilities, that the paint contributes to these patterns, and that it diversifies meaning.
תגובות