Article From: Flash Art
Title: The Lord of Waste
Artist: Tal R
Author: Jan Hendrik Wentrup
It’s early autumn of last year and I’m standing in Tal R’s sitting room. It’s early morning, and bright sunlight is streaming in through the windows of th wooden house. Tal’s three-year- old son Yunus is sitting on a little chair next to me and watching a cartoon on television. A little mole is standing on his molehill in the middle of a green meadow. There are trees and colorful flowers all around him. The sun is yellow circle shining in the sky. A lorry drives up, opens its tailgate and tips a mountain of rubbish onto the meadow: colored balls, and umbrella, car tires, bottle. The little mole jumps up and down on his hill and complains at the top of his voice. Yunus watches the on-screen action, fascinated, then suddenly turns round to me and shouts out: “Papa, papa painting.”
Like his son, many critics feel they’re in a late adolescent’s untidy bedroom when confronted Tal R’s pictures. The two dimensional pictorial structure, the schematic representation of the world of things, the occasionally smeary gesture and the rich colors are sufficient justification for many viewers to feel that they are dealing with a finger-painting imitator. Here they fail to acknowledge both the sophisticated content, derived from a large number of cultural, sexual, and religious sources, and Tal R’s approach to recent art history.
The 2002 picture “Riders in the Sky” is built on a strictly linear pattern. The lower part of the picture consists of an overgrown cemetery landscape with curving pine trees and a colored gravestone without an inscription. Glowing, colorful beams of light rise up out of the middle of his last earthly resting place, spreading out into the upper part of the picture like a fan. A gang of motorcyclists rides headlong along the Highway to Heaven and out into the supernatural. These clichéd figures on the fat-tired bikes appear for the first time in a picture painted two years earlier.
In the story I told at the beginning, the mole is furious at first and then sad for a long time about the rubbish in his meadow. But a moment comes when he starts to pay attention to it. He climbs into the old car tire and rolls down the hill in it; he puts up an old umbrella and floats down from a tree; he cuts the ball in two and uses one half of it as a hat, the other half as a boat. Then he piles it all into a big heap and enjoys all the shapes and colors it contains. Tal R does just the same.
Title: The Lord of Waste
Artist: Tal R
Author: Jan Hendrik Wentrup
It’s early autumn of last year and I’m standing in Tal R’s sitting room. It’s early morning, and bright sunlight is streaming in through the windows of th wooden house. Tal’s three-year- old son Yunus is sitting on a little chair next to me and watching a cartoon on television. A little mole is standing on his molehill in the middle of a green meadow. There are trees and colorful flowers all around him. The sun is yellow circle shining in the sky. A lorry drives up, opens its tailgate and tips a mountain of rubbish onto the meadow: colored balls, and umbrella, car tires, bottle. The little mole jumps up and down on his hill and complains at the top of his voice. Yunus watches the on-screen action, fascinated, then suddenly turns round to me and shouts out: “Papa, papa painting.”
Like his son, many critics feel they’re in a late adolescent’s untidy bedroom when confronted Tal R’s pictures. The two dimensional pictorial structure, the schematic representation of the world of things, the occasionally smeary gesture and the rich colors are sufficient justification for many viewers to feel that they are dealing with a finger-painting imitator. Here they fail to acknowledge both the sophisticated content, derived from a large number of cultural, sexual, and religious sources, and Tal R’s approach to recent art history.
The 2002 picture “Riders in the Sky” is built on a strictly linear pattern. The lower part of the picture consists of an overgrown cemetery landscape with curving pine trees and a colored gravestone without an inscription. Glowing, colorful beams of light rise up out of the middle of his last earthly resting place, spreading out into the upper part of the picture like a fan. A gang of motorcyclists rides headlong along the Highway to Heaven and out into the supernatural. These clichéd figures on the fat-tired bikes appear for the first time in a picture painted two years earlier.
In the story I told at the beginning, the mole is furious at first and then sad for a long time about the rubbish in his meadow. But a moment comes when he starts to pay attention to it. He climbs into the old car tire and rolls down the hill in it; he puts up an old umbrella and floats down from a tree; he cuts the ball in two and uses one half of it as a hat, the other half as a boat. Then he piles it all into a big heap and enjoys all the shapes and colors it contains. Tal R does just the same.
In my opinion, I like Tal’s work because his masterpiece is similar with Pablo Picasso. No matter the style, color used, he gave us the joyful emotions when he used the brightly color such as “Cusines” the painting with many spot shapes and different colors. Also, his composition can attract many people, because his work is more lively, more fascinating when after people look his work and his great achievement.
Hi Amy,
ReplyDeletePlease be careful to differentiate between the article you found in the magazine, and when you write yourself (just the last paragraph, right?) The best way to do this is to use quote marks, you might also want to make it different colours or something like that. I think what you've said is good, but it would be better if you would write more, instead of the article being longer, your opinion should be longer.
Also, where is your response to Te Tuhi? TX