Shalom Flash

Ayanot ,
Oil on Canvas
30X25 cm


Shalom Flash

Flash, born in Israel (1948), lives and work in Israel

This collection of paintings by Shalom Flash is situated between realism and its more implied representation. To a great extent, it reflects the present state of painting, especially of representative painting: a stage reached following the abstraction of painting itself, when minimalism culminated in conceptualism. Only an arduous and tenacious fight allowed representative art to survive as a universally accepted subject of merit

Flash`s field of exploration spreads (physically, culturally and mentally) around the central latitudinal line of the country. It stretches from the urban landscape of Tel-Aviv Yafo (south to Kibbutz Shefayim, where Flash was born) through his childhood haunts on the coastal plain (between Kibbutz Netzer Sereni and the open campus of the Weizmann Institute of Science, where he now lives) and reaches Har Haruach (The Mountain of Wind) through Shoresh and Abu Ghosh on the gateway to Jerusalem.

Flash exhibits his personal landscapes seasoned with childhood reminiscences from Kibbutz Netzer Sereni, and at last, there is the topographical-cultural aspect arising from the sheer location of Har Haruach, the juxtaposition of Israeli afforested hill sides with barren Palestinian hill sides. Flash examines the essence of his and of our existence by repeatedly delving into human-less landscapes – resembling each other and yet different, so close yet so distant. He attempts to encompass 360 degrees of existence while choosing a location, looking around it and painting.

The changing in times of day and of the seasons of the year bears a strong influence on his perspective of the locality and of the interplay of light and shadow as does the usage of a limited, mostly light, color palate. Flash`s color palate consists of two yellows, two blues and a purple, a red and an orange, a green and black and white. The colors are slightly bleary, as if overcast by a white film whose purpose is to conceal, or as the poet Nathan Zach chose to describe it:” I would say that Shalom Flash has devised a superb technique of self-concealment, or humility, ‘nature’ first, only then comes the ‘artist'”

To a great extent, Shalom Flash may be considered among the followers of the objective school of landscape painters, such as the Venetian Canaletto (1697-1768) or the French Camille Corot (1796-1875). In contrast with the German romantic manner, as expressed by Caspar David Friedrich (1774-1840) Artist1

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