Page 89 - Art-in-Israel

Tandet-Ron creates works in series. A painting starts from a procedure required to create the cells, and an apparently
theoretical idea, a thought about an abstract subject that careless smearing of the larger flat parts. These have been
crystallizes slowly in the creative process and is accompanied blurred post facto in the triptych “Trees of Paradise,” giving the
by changes during her work on the canvas. In this way she feeling of being pulled between the two parts of the painting: on
gives a feeling of continuous development. The created forms one hand the earth, and on the other, the treetop. Together they
develop themselves into definitions she has formulated in the create a large, closed circle, composed of small round cells. The
earlier, conceptual stage. Thanks to this process, the perceptive earth seems to try to move up, but the tree remains locked in
aspect of her works is stronger than the formal one. place. The painting gives a clear feminine feeling, with a soft,
rounded belly and fertility trying to burst out. One can see in the
The series “Identification Certificate” makes the spectator look tree trunk a symbol of a birth canal, through which life tries to
for differences between the paintings, which appear very similar erupt, but the trunk blocks and prevents the outbreak. Major
at first. A closer look, however, discovers that the streaming topics absorbing Tandet-Ron are life, existence, fertility,
forces act in different directions, attracting the eye to them. It multiplication, repetition, decomposition, damage and death.
sometimes seems that they pull the spectator inside, into an They combine into big, sometimes monumental paintings,
infinite depth, and sometimes they seem to throw him up. leaving strong impressions by means of their color, their
transparency, and the interrelationship between the near and
Tottering between opposite feelings is a basis of existence the distant, the flat and the deep, between the “existing” and
created by paintings of embryos attracting us by their contrasts: the “non-existing.” The works possess a magnetic quality, taking
between small, round forms creating a saturated texture, and the spectator on a quest.
amorphous forms; between a very strict and accurate working Eleanor Rotem

TRIANGLE 2 TRIANGLE 3
2002 OIL, LACK, VARNISH ON CANVAS CM. 90X100 2002 OIL, LACK, VARNISH ON CANVAS CM. 90X100

ART IN ISRAEL ART IN ISRAEL
84 85
WORLD OF ART WORLD OF ART