Unfolding Of A Vision
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Transcript of Unfolding Of A Vision
ABRAHAMABRAHAM ELTERMAN ELTERMAN
LONELINESSLONELINESS The Unfolding of a VisionThe Unfolding of a Vision
Paintings 1999 - 2007Paintings 1999 - 2007
Abraham Elterman’s painting has gone
through major changes over the years. Yet, no
matter what the appearance of the work at any given time, the set of issues that it deals with
has remained remarkably consistent
The work deals with the value of individuality, with fear of loneliness and isolation and with connectedness
Untitled, Oil/panel 38” x 50” 1999 The year 1999 was a turning point. The paintings
became large images (about 1.5m) of single objects which are barely contained by the canvas
The shape of the objects reach deep into the picture plane
The 1999 forms represent cut sections of seemingly larger objects, some of them covered by a shimmering
skin
These paintings speak of individuality –they each establish an unmistakable presence and identity--
but also of loneliness and social isolation
The Exquisite Power of Conviction, Oil/Canvas67” x 72” 2000
The next group of paintings came about in 2000 and --at first sight-- seem completely different
The sensuousness of the forms is still present but now there is a head-on view of elongated organic forms, that occupy the whole surface without allowing any background
Shimmering surfaces and concentric shapes are typical of the 2000 series
Untitled, Oil/canvas, 72”x 72”, 2000
The first painting in this 2000 series (left) can be understood as a transitional piece
Just like with the ‘99 paintings, the ‘object’ contains a large central shape and it sits on a background that reaches deep into the space; but this is a new type of image with segmented and elongated ‘arms’ that grow out of the canvas
Thus, this piece contains elements of both the ’99 and the 2000 series
The Devastating Ravages of Jealousy, Oil/Canvas, 60” x 72” , 2000
It is as if the mind’s eye has moved to look at the ‘99 paintings from above. The perspective has changed: instead of a sliced section from the front, we are looking down at the surface with the shimmering skin. The space in the painting has changed from a deep to a shallow one and the background has completely disappeared as the shapes grow out of the picture plane
The Allure of Powerful Friends Oil/canvas72”x 72” 2000
The 2000 series are glamorous images of non-glamorous shapes. The monster-like forms are grotesque and monochromatic; they are repelling and at the same time, being soft and cuddled-- some people find them comforting. The coiled shapes express a longing for safety and protection
The next series of paintings (2001-2004) once again seem like a radical departure from those that came before. However, here there is also a transitional painting that helps explain this evolution. Like the 2000 paintings, this painting is monochromatic and covers the complete picture plane; but the elongated forms have been pinched, creating rounded, ovoid shapes and the raw nature of the 2000 series has been substituted to a more refined tone
Untitled, 38” x 50”, oil/paper 2001
That Which Transforms, Oil/Canvas, 60” x 72”, 2002
The new paintings are composed of quintessentially feminine forms and they speak of connectedness and empathy. Each carefully defined, each frontal, the forms exhibit an inner sense of illumination
That Which Persists, Oil/canvas, 60”x 72”, 2003
The compositions can be thought of as a ‘balance of power’ among the individual forms
That Which We Cherish, Oil/canvas, 48”x 48”, 2003
As the forms softly push into each other they become a metaphor for self and other
In 2005 the work turns
back to elongated forms, this time with a somewhat less organic character. Here the purpose has been to infuse a sense of a life into these structures
Untitled, Oil/canvas, 60”x 72”, 2007
In this body of work some of the ideas introduced before are developed: the shimmering of surfaces, the reflection of colors. Rather that glowing from the inside, light is now reflected at the surface
The individual forms conform to each other preferring to be crowded rather than isolated
Untitled, Oil/canvas, 26”x 30”, 2006
Untitled, Oil/canvas, 72”x 60” , 2007
The most recent work opens up the space: the objects fly as if they had been tied at one end and flung. The main theme remains: forms are either isolated or clump for companionship
The forms are simple but in their details and interactions
they try to speak of in individuality, connectedness, intimacy, and empathy. They also tell of issues of
power (as forms vie for space), dignity (as forms take center stage) and vulnerability (as forms appear fragile
and interact softly)
Contact
Abraham Elterman
www.abrahamelterman.com
(510) 658-4854