Art Shows > Miri Strauss Tlalim: She, Loved Flowers
Miri Strauss Tlalim: She, Loved Flowers / Zaritsky Artists Houseטלפון - 03-5246685   הצילומים באדיבות Zaritsky Artists House 06/06/2019 to - 29/06/2019 By Miri Strauss Tlalim She, love flowers "My flowers smell rotten, and the golden decorations are bleeding bloodlessly." [1] As an act of laborious embroidery, plants with occasional amorphous shapes are interwoven into a monochromatic tangled tangle of single color stains. The seductive sight that captures the eye soon turns out to be an elusive arena created by the pre-mental sensations in the depths of the soul. Mysterious inflorescences emerge as predatory serpents, golden petals turn out to be faded, and the leaves carved in wood are nothing but arrows that are sent and attacked in the space of painting. The images of the flowers in Miri Strauss Tlalim's works, which intersect the beauty of nature with the hidden nature of the female body, conjure up precedents of flower arrangements used by artists to express an inner, multi-layered, intimate and muted world. For instance, paintings of Georgia O'Keefe's flower, flower photos of Amoz'n Cunningham, the famous work The Dinner Party by Judy Chicago and many other artists not enough space here Mlfrtn; In all of them the motif of the flower is an important component in establishing a female visual language. [2] The process begins with the choice of the wood substrate and the examination of the "topographic map" inherent in it, which is a key to the continuation of the artistic process. Strauss Talalim listens to the surface. She slides with pencil and charcoal on the substrate as she creates the flowers that are emptied of their color, passing by him again and again until a thin, airy layer is created between presence and disappearance. At the time of painting it locates the organic eyes and patterns embedded in the tree, and with minimal intervention harnesses them to the creative system as a partnership to the dramatic events that occur there. Sometimes it burns the wood substrate and marks the place and the moment as a painful, undelivable presence. The sequence of actions created in the painting process enables encounters with the pre-verbal objects, which define the artistic language. The beginning moment in Strauss Tlalim's creation of the world encapsulates the non-knowledge of its ending, and thus is possible in the work of containing opposites, internal contradictions and hidden struggles. The courage to touch the edges together with the basic instinct to keep from gliding beyond them enables the existence of a subtle space of beauty mixed with the recognition of loss, oscillating between late blooms and withering, between enlightenment and gloom. It is dusk that Eros and Tantus are dancing incessantly. Ruti Chinski, Amitai, curator [1] Yasmin Gata, Night of Calligraphers , translated from French: Hagit Bat Ada, Tel Aviv: Schocken, 2006, p. 81. [2] For more details, see Edna Moshanson, Rose Sah Vei : On Flowers in Contemporary Art , Tel Aviv Museum of Art, 2004; Nira Tessler, Flowers from Moshiach , Tel Aviv: Resling, 2012. location - Zaritsky Artists House Time - 06/06/2019 to - 29/06/2019 Exhibition opening - 06/06/2019, שעה - 20:00 |
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