Hana Jaeger ART Habens are accentuated in my painting by foreshortening of the body and by the protruding legs at the foreground of the painting.
Another example is the pieta pose that appears in the " Golden Legend "( legenda aurea). The particularly touching pose depicts a superhero compassionately cradling in his arms another superhero, like Mary cradling the broken body of her son, Jesus. There ' s also a reference in my paintings to the Classics. In his poem, Ars Poetica, Horace coined the term ' deus ex machina ', which is alluded to in the painting of the automobile mechanics under a car, who ' re in a situation where humans might find themselves praying for help, with no exertion, from someone, anyone, not connected, not expected outside source – maybe Superman?
The world represented in my works calls for thinking about the voyeuristic experience of painting. It is a world in which peeping turns out to be an impossible, unfocused contemplation of a kind that is trapped in the contours of fantasy. The works direct the gaze toward the back of the subject of the painting, the forbidden gaze echoing questions about its ownership, about the prison of the gaze. The painting suggests the toughness of disorder, the liquidity of the sign, dirty in one world but clean in another. The power of the painting is in the looking at the heart of existence, in order to make its perversions reverberate.
A well-known Israeli artist Pichhadze asserted that life is like a snowball that rolls and in time more and more life stories stick to it and in the end enters the studio. My biographical background certainly resonates in my work, whether I like it or not. I paint things that are here and now. Everything is close at hand, simple small scenes and I tell them my way. Even though my father ' s Interior Code Painting, an autobiographical idiom that appears and reverberates in my paintings, the scenes seem to be universal ones and convey such familiar emotions that anyone can relate to them. My inner self is expressed in the way the stories are presented, in the characters, in the places, in the interaction between them, in the composition, in the colorfulness that I choose, and even in the manner of applying the paint. In my opinion, good art can ' t be detached from direct experience. It ' s got to burst out from the artist ' s bowels.
Body language is most important in my art. The face is physiognomy-free, or by virtue of the composition it isn ' t visible at all. It ' s important for me to convey things with a
21 406 Special Issue