השבוע – אלעד לרום —————————— This week – Elad Larom
As I see it, in our contemporary culture painting is perceived as an object which is not so philosophically charged and instead is seen as an object which is more used for and abused as a commodity.
I use the medium of painting as a tool which is sublime and interchangeable simultaneously, and in which desire and repulsion coexist in the same breath.
As a result, in my paintings, I try to deal with these subjects by creating multidimensional self aware pieces.
CREW LOVE VLAN, 2013, 60×45 cm, acrylic on canvas
In my work I strive to manifest the consumption of the image in its current evolution, which I understand as an inflation of retouched fragments. This inflation is caused by current technological methods of consuming images, which can be seen in the dissemination of the internet and in the flood of visual information.
Untitled, oil on canvas, 120 x 100 Cm, 2009
Influenced by these thoughts on the medium and technique I try to create something functional which would lead to physical flatness. In the case of my painting this results in them being flat, yet layered, posters. As I understand it, the metaphysical depth is obtained through symbol, shape and content. The flatness, therefore, is the uppermost crust covering, a thematic depth and an existential murmur bubbling under the representation.
Right triangle Diptych, oil on canvas,160x120cm, 2010
As a result, the image never forms one homogenous theme, but rather a broken theme The image is recycled and is also manipulative; the image is a vessel that strives to expose fragments of cosmic, cultural, political and personal truths. And I just consciously shatter the vessels while using them.
TWO GIRLS ONE CAR, water colour on paper, 34×25 cm, 2013
The high number of artists active today has created a situation in which pure medium usage (whether it is painting, photography or video) turned to be a rather cheap resource for bigger forces in the art world: curators, art producers and the over-seriousness of the cultural world. As a critical approach, I oppose this shift and truly believe the importance and necessity of going back to the basics of art in its simple presentation, just like rock and roll: wild, loud and directly interactive with people.
ROTHKO'S DREAM, oil on canvas, 147×120 cm, 2012
My interest goes naturally to anthropology and religion yet my main goal is unmasking the manifold ways of political public manipulations alongside the personal mislead of the mind (this idea was specifically central to the video and painting series Talking with Gods).
Being an Israeli and growing up in a region full of conflicts and ambiguity made me to become unwillingly aware of the complexities created by the objective and subjective identity.
The conflict in the Middle East, which of course projects into world politics, together with the fact that I live in a country which from its very first day has an ongoing conflict with its region including with the country from where my grandparents arrived, put me as an artist in a point that forces me – so I feel – to have a clear outlook about this conflict and about the responsibility my country has in fanning the flames.
POPULAR FRONT, oil on paper, 200 x 140cm, 2009
I believe that this ongoing political tension makes the notion of tribes and division between groups so evident in my works, which makes my artistic decisions a ‘response’ and a ‘result’ of the conflict, both the political and the personal one.
Consequently, and as many of these groups share some common grounds and characters (such as physical similarity, dress codes, or even just a formalistic repetition) I tend in my works to mix the local imagery in a global visual language, striving to create poetic case-studies of exotic nature.