Iranian artist Shirin Abedinirad portrays the fine line between harmonious living and destruction..
(photo credit: PRIVATE COLLECTION - GERMANY)
As many an artist should know, there is something about leaving your spectator guessing, to draw them into the thick of your work. Quite a few moons ago, when I had a couple of photographs on show in a group exhibition, a painter friend alerted me to the possibility of visitors walking past my works without giving them so much as a sideways glance. That, he said, would make me feel far worse than, say, if they were to laugh or scowl at them. He was right.
Joram Rozov must have taken that on board. Most of his paintings currently on show at the Museum on the Seam, as part of the “The Case of Hiroshima” exhibition, feature fighter pilots. We get to see the uniform and all the associated paraphernalia in something approaching hyper-reality. You can almost feel the texture of the material, the very warp and weft, but you never get to see the pilot’s face. You are left wondering who, in fact, was behind the controls when the bombs were dropped on enemy territory, possibly killing innocent civilians along with some strategic military facility.
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