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Arttoget.com - Art Reviews
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| all articles by Dror Burstein for ArtToGet |
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A collection of photo montages, taken from around the world Stephen Walter’s photographs slowly construct a world. Each and every picture represents the whole, but all of them together clarify the concept. This is a world based on a well-known reality, distorted by the artist in subtle ways not always evident at first sight. Strange and well-known elements are uniquely combined in these photographs. The “well-known” ones are often based on the “genre” of domestic, touristic, somewhat picturesque photographs. In other words, some of these photos can be viewed as depicting a strange dream of tourism.
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Untitled,
Treated Photograph. Digital Professional Print
70cm x 70cm, 2001
In Yoav Hanan's work a human figure is crouching in the fetal position inside a log of wood. The log is tied to a rusty chain. There is darkness all around. It is obvious that the man in the picture is locked in this position, and beyond the log of wood surrounding him like the uterine wall there is a larger, dark prison. . The world we are living in is poignantly depicted in this work as a prison, open to the darkness surrounding it.
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Studio
Oil On Canvas
90cm x 100cm, 2003
Tirza Freund’s painting depicts the artist’s studio. The studio is filled with books about art, representing the presence of old masters standing between the artist painting herself and her image reflected in the mirror. The painting presents the problem of finding a personal voice, the unique identity of the artist against the background of the great examples surrounding her. The mirror with her reflection turns into some kind of opening through which Tirza Freund is led to the painting and through the painting - to herself.
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Berlin # 1
Professional Color Print
100cm x 70cm, 2005
Orit Siman-Tov’s photograph shows a construction site in Berlin 1999. The site displays signs of confusion: cranes pointing in different directions, a confusing traffic sign, and an enormous figure on a billboard pointing left and right simultaneously. Humans can occupy only a small part of the huge project. The photograph brings to mind the confusion and contradictions of every mammoth building project, from the Tower of Babel to these days.
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Road's Fruits
B&W Potograph, Silver Print
100cm x 70cm, 2005
Ilit Azulay's photograph captures an everyday scene seen through the window of a car. It is an impressive, wise work of art because it manages to isolate something significant in the fleeting, everyday scene. The windowpane on which the passing view is “imprinted” serves as the symbolical representation of that strange, delicate spot, located between the artist and the world, where photographic art takes place.
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Park,
Special Digital Print on Glossy Satin Fabric
220cm x 165cm
Tamar Kaplan’s photograph depicts a pool with a number of colorful slides leading fallen autumn leaves into it. Reflected in the water, all the bright colors are obliterated and the withered leaves turn into waste. The photograph might be considered as an allegory of life running its course towards one inevitable end: oblivion and waste. But we are actually witnessing the miracle of transformation: the withering leaves stay alive through the spectator’s gaze.
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From the series Layers 2002- 2005
Professional Color Print
70cm x 70cm, 2005
The two trees in Vidal's photograph are yearning for each other, fulfilling their desire to merge. Looking at the picture as an abstract system of colors reveals the easy passage of green and brown from the ground to the trees, or vice versa. In the middle a dry branch is extended downwards . This is the meeting point of two realms: above and below. The photograph has captured the exchange between the two. This is the moment of communication, when contact is possible. Therefore, it is also the moment inviting the viewer into the picture.
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Cul De Sac
Water Color on Paper
152cm x 122cm, 2004
Gabriels Shutz’s painting presents an ”ideal city”: organized, structured, easy to observe. It seems to have been designed by a computer, indifferent to any human singularity. The ability to observe is what makes this ostensibly idyllic picture so disturbing, beyond exaggerated order and organization. The observation inherent in the painting conveys the message that order is a by-product of a brutal regime.
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Horses,
Silver Print
100cm x 70cm, 2002
Ilit Azulay's photograph depicts three dark horses standing over a white horse lying on the ground. At the right there is a truck and in the background a huge eucalyptus. This prosaic agricultural scene brings to mind the oft- painted scene of Jesus' deposition from the cross, with the white horse symbolizing Jesus and the dark ones the mourners. The photograph might be based on the Christian myth, but it creates a new, universal myth, expanding its validity: This is Jesus, but there is something else as well. That something else is depicted in the photograph.
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Zlilei Hanina 5 #2
Acrylic on Canvas
100cm x 100cm, 1995
The figure 5 in this painting may be considered as metaphorically alluding to a fifth dimension. Beyond the 3- dimensionality of space and beyond time as the fourth dimension there exists a place made possible by painting. This fifth dimension is a mystery. Painting is neither time nor place, yet it acts as a kind of place and actuates some sort of time.
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