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Ron Gang talks about his art and ideas
(if you've scrolled this far down, then here is a collection of my
verbal musings, about my approach to art, painting, philosophy of life
in general, and more "bloggy" talking ....
nonetheless, a picture is worth a thousand words, so only if you've had
enough of the images of the paintings, then read on
(or go to Ron Gang
talks about his Ideas and Art for the text accompanied by
some photos).
"My paintings are fueled by a bond to the land of Israel's Northern
Negev at the desert's edge. The art I like does not try to be
sophisticated, but is innocent, speaking with a quiet voice to and from
the more fundamental depths of one's consciousness."
In this period, the "art world" in my country is pre-occupied with "now
art"... art that addresses current political and social issues. I would
like to think of my work as art of the "eternal now", a state where one
becomes engrossed in the experience of the moment which becomes an
all-encompassing eternity. (This term is used by Alan Watts in The Way
of Zen.)
Wasily Kandinsky, recognised as the founder of abstract art, spent his
last years in a small apartment in Nazi-occupied Paris suffering from a
grave illness and the restrictions imposed by the objective political
situation. Nonetheless, his work from this period gives not the
slightest clue to these stifling surroundings. Rather, he continued to
draw on his highly-developed inner spiritual world and produce some of
the finest, most absorbing paintings, that bring across the feeling of
a highly beautiful transcendental universe.
Ludwig Blum, a plein air painter of the Land of Israel, is a great
inspiration for me. In lae 2009 and early 2010 a great
retrospective exhibition of Ludwig Blum's works was shown at the
Diaspora Museum in the campus of the Tel-Aviv University.
The show, curated by Dr. Dalia Manor, at long last did justice to
Ludwig Blum, so overlooked by the Israeli art establishment all these
years.
Are these works masterpieces? Well, maybe some of them - indeed a
respected artist has told me when visiting the studio - "This work is a
masterpiece - do not sell it, at least not for a low sum." It is
hard to say what is an Israeli masterpiece-especially in this day and
age when the focus on the quality of workmanship and craftmanship in
art has changed. Are there masterpieces being produced
today? Probably so, yet probably far from the limelight.
Have I painted a masterpiece? This is not for me to say, and only
for history to judge, which I hope will be kind to me.
Trees:
Acacia Trees, Eucalyptus Trees, Tamarisk Trees, Olive Trees (two early
paintings, unfortunately not on the site at present), Date Palm Trees,
Cypress Trees, have I left anything out?... Mankind has a
connection with trees since the earliest time... this is born out
in Bible with the references to the different trees in the Garden of
Eden.
The tree paintings are an allusion to the human condition... roots
anchored in the ground, head in the heavens... arms (branches)
reaching to the sky.
The paintings of trees are an exploration... the search continues....
painting trees goes on.....
Is there anything "Jewish" about these paintings? The question of
Jewish art and Jewish painting is probably one of content, and not
related to the ethnic group from which the artist comes. Is this
"Israeli Art?" Definitely, as the term "Israeli Art" and "Israeli
Painting" defines the geographical location from where the art comes,
and since the work is of the Israeli landscape, this also relates to
the content of the paintings.
As per the question of Judaica: This is art based on Jewsih themes-
One painting of mine "Jacob's Ladder" is indeed based on a vision
from a Bible passage.
So strictly speaking this can be classfied as Judaica.
Yet,
I se this work also as universalist, the message being one of
transcendence. The Bible itself is full of universal messages.
We should honor ethnic and religious traditions and see that all
the cultures of the peoples of this planet make up onr beautiful mosaic!
Plein Air (pleine air):
Working directly from nature, from direct observation is the essence of
plein air (pleine air) painting.
Nature is the teacher, provides the answers, lighting, color, lightness
and darkness (chiaroscuro) values.
No need to invent - rather, in plein air, not to impose the artist's
ego on nature, yet to be receptive, observant.
In plein air, through developing the powers of observation, a greater
sensitivity to visual nuances emerges.
Portraits:
The human face is possibly of the most fascinating landscape, each
line, shape and angle revealing
a lifetime of experience, thought and emotion. It is all there -
we just have to look and put it down
on the canvas, Normally, we may not gaze at a person's face, as
it is impolite, disrespectful and
elecits difficult responses. Yet, the portrait painter receives a
license to do this, and in painting the
subject's portrait during a live sitting, the portrait sitter
reveals his multi faceted soul,
as over the time of the portrait sittings, the fine nuances of the face
are displayed.
Paintings as these record the
universal spirit recognised in all beings and creation. From this level
of awareness, the Palestinian - Israeli conflict is but another
phenomenal manifestation of the play of the forces existent in
creation. Beyond the awareness of "Palestinian" or "Israeli" or for
that matter "Roman" or "Nabatean" expressionist, one sees these as but
mere labels, tags, attached names, which people fight over and in a
more fundamental level of reality have no real existence, but are mere
appended labels. Is there really a "Palestinian art" or "Israeli art",
or is there just "art" per se with no labeling? Is there a "Palestinian
artist" or an "Israeli artist", or is there just an artist? When you
contemplate an artist or any human being removed from contextual mileu,
he/she is only a human... there is nothing "Palestinian" or "Israeli"
discerened in her/his biology. So one producing "Palestinian art" or
"Israeli art" is producing art whose content transecends the labels of
"Palestinian art" or "Israeli art". Universal art is the basis....
critics and political beings may attach the labels. Do we strive for
that which is pure?
Painting is not dead, nor should working with oil paint on canvas be
considered anachronistic. The tradition of painting is a continuing and
developing one. Progress is yet to be made, building on the work of the
great painters of the not-too-distant past.
It would seem that the advent of the "ready-made" earlier in the
last century, has usurped the value of craftmanship in art. I believe
that this is a detour from the path. It is only a matter of time in
which innovation for the sake of innovation alone will fall by the
wayside. The true values of art will survive, as art strives for
eternity.
My landscapes are painted in the open air. I prefer to walk out into
the desert to work in quiet undisturbed isolation. The work progresses
through the direct process of observing nature. Scales seem to be
removed from the eyes as greater depths of colour and spatial
relationship appear. Indeed the act of painting seems to be a form of
meditation causing a heightening of the awareness. While in the field,
what takes place on the canvas seems as a reduced reflection of all
that is experienced. Yet when viewed back in the confines of the
studio, it is clear that the canvas has brought back the vitality of
the greater experience.
Sometimes I feel that it is the landscape which has painted itself, not
the artist. I have been but a medium through which that which has been
painted has recorded its presence.
One of the joys of painting is the endless combination that the paint,
colour and texture manifest on the canvas. When successfully
juxtapositioned, different colours go into vibration or oscillation
with each other. Layers of paint are built up with various degrees of
transparency creating unpredictable new effects.
I like a good, textured, painting which gives you the sense that there
is something "to sink your teeth into."
Monet is said to have put each canvas aside, and pulled it out when the
particular atmospheric/lighting effect appeared. A particular canvas
was earmarked for only a certain atmospheric effect, and thus he would
not work on it under a set of conditions different than those he had
decided to be suitable for that piece.
I have continued with the same canvas under varied conditions, all of
these conditions adding up in terms of layers of paint, one over the
other, contributing to an unforseen final mood which is born from all
the different painting sessions coming into harmony not without
conflict having taken place between these same layers/sessions, and
their traces evident along with their resolution.
Time seems to be an indispensible element of the work. Time in the
meaning of a span of time from the beginning of the canvas until the
realisation of its completion. Time is necessary to see all the
subtleties in the work and develop the feeling for what alterations or
modifications are to be made for all the parts of the painting to live
together in harmony. This time is also necessary for separating the
painter's seeing of the painting from the intensity of feelings that
accompanied the earlier act of bringing the raw unfinished painting to
be on the canvas. At that earlier stage the artist identified with the
stimula outside of the canvas, and during that period, when viewing the
painting, he would see more the external stimula, than the work itself
on the canvas. This could be for better or for worse... The canvas
could cause him to recall his private experience at the time,
re-creating for him, but only for him, those sensations. Yet, the same
canvas may communicate absolutely nothing to another viewer. Or the
artist would still be so much enamoured of that experience, that he
would be blinded to the imperfections or disharmony of the canvas.
Thus, only once he has put the work out of his sight and over the
course of time allowed that memory of the experience to fade, then he
would be able to once again look at the work and see it on its own
merits and make decisions on how to proceed.
On the other hand, during the time of the initial painting act, he may
have implanted in his mind a very strong idea or feeling as to what
direction he wanted the work to take. The work at that time did not
live up to that ideal, and the painter felt it incomplete, unfinished.
Only once again by distancing himself again from these feelings by
means of the passage of time, does he view the work in a more objective
frame of mind. Then he may even discover a new painting (to him) and
see that it is indeed a completed harmonious work.
In both cases the passage of time was necessary to the artist to see
his work more objectively.
It would seem that this passage of time is in effect another layer of
paint - in this case invisible, but not entirely intangible - which
goes on to the canvas and becomes part of the totality of the work.
It may seem from the above statements that I choose to ignore the
surrounding social realities, and like an ostrich, bury my head in the
sand. Of course, it is hard to evade the aberrations of this present
age. There are those that in the name of the Creator and/or his
messengers are willing to destroy His creatures or deny them their
human dignity.
YET - if we we all co-operate, we shall turn this world into Heaven on
Earth.
It has been demonstrated the the money spent on but ONE day of warfare
in the Middle East is sufficient to solve all the problems of water
shortage in this region. If we will it, it is no legend.
To come back to the issue of art... no, I cannot bury my head in the
sand! But, alas, let there be POSITIVE VIBRATIONS!!! We shall not let
those of destructive tendencies drag us down. With eyes open, we shall
rejoice in the beauty of the Creation. We shall know our potential, we
shall strive for the Ultimate. Let the art offerings serve as witness
of the Goodness that exists around us. See the positive, strengthen it,
and in the effort of making a better world, we shall strive for beauty!
Even though I prefer this to be a non-commercial site, most of
the paintings are for sale. An artist must survive, and as such
he must sell works to buy time to create new paintings. So,
please be encouraged to buy my works and become a part
of this creative process.
(Paintings that are no longer available are indicated in the caption
below the image as being in a private or corporate collerction.)
Please contact me for prices and shipping information.
About lighting::
Light is the key - lighting varies with time of day and accents
different shapes and features. Light through clouds like a spot light
on one area of the landscape highlighting it in contrast to the
surroundings. Lighting of the paintings is of utmost importance - good
lighting will make the painting work, poor lighting will hide what is
there. Atmospheric factors change the light and the softness or
hardness of view...
How to paint a landscape, how to paint a sky, how to paint anything for
that matter? The key is using our eyes, "listen" to your eyes, and let
your eyes make the decisions as to shape, color, etc.
At the London (England) Jewish Cultural Centre : Tues. Dec 14 at 1:30
PM a lecture was given by Dr. Lila Moore: Jewish Mysticism and Myth in
Modern Art - Case Studies: Mordechai Ardon, Marc Chagall, Ron Gang,
Hava Gal-On.
The spring and summer of 2005 saw an exhibition of 18 of my paintings
in the art gallery of the Holy Blossom Temple in Toronto, Canada.
Although I had participated in a few group shows in Toronto and had a
few years previously a solo show of my work at the nearby Westdale
Gallery in Hamilton, this was my first major show in Toronto.
Monet and the Impressionists including greats like
Pissaro, Sisley, Morrisot showed us to connect with nature in a fresh
way... Kandinsky showed us the Spiritual in Art to be true to out inner
world, to manifest our spirituality in our work, every brush stroke's
direction having spiritual importance.. art of the spirit to enhance
our consciousness and awareness to expand to awareness of the universe
in a grain of sand... allowing vibration of color influencing the
psyche with a positive vibration to uplift the spirit to new heights.
My art studies over the years provided many mentors... my first art
teacher was my father,
Israel Gang, who in my early years introduced me to me to the
secrets of perspective drawing.
Edna Goodwill at King Edward Public School in Toronto deepened the
knowledge of perspective
and introduced me to colour and Vincent Van Gogh. My mother, a
lover of art, took me to
see the Van Gogh exhibition in Toronto, back in 1960.
Studying with Chaim Meyers Weiss at the evening classes at the
Western Negev Maale Habesor School from 1980 to 84 rekindled the
artistic impulse
and convinced me to enroll in the Tel-Aviv School of Art ("Kalisher"),
founded
by Arieh Margoshilsky. Most influential teacher-artists for me
there were Yedid (Yadid) Rubin, Eli Shamir, Ofer Lelouche, Ami
Levy
(a sculptor teaching silk screen who demonstrated some secrets of color
mixing), and others of varying influence were Yossi Asher,
Maya Cohen-Levy, Larry Abramson, David Reeb and principal-teacher, a
student of Margoshilsky, Zvi Ben-Dov.
Student-colleagues of note were Dani Ben Simhon, Tal Matzliach, Asim
Abu-Shakra, Farid Abu-Shakra, Meira Shemesh, and Michal Spector.
My paintings were featured in an exhibition curated by Tali Tamir
in
the Kibbutz Gallery in Tel-Aviv called "Innocent Art" commemorating
Israel's 50th Indepedence Day Anniversary... was this naive art? An art
critic reporter asked me if I was a naive artist while he sensed that
there was something deeper. Tali Tami, the curator, seemed to classify
my work with that of naive artists while hinting to me that this wasn't
the exhibition that I had wanted. In an art world where strong
statements are the rule, is there a dulling of sensitivity to render
the deeper levels in my work imperceptible, and as such it is called
"naive" art?
My first major venue outside of Kibbutz Urim (excluding the Kalisher
Gallery where the graduates of my art school exhibited their crowning
art-student
achievenments) was the Beer Sheva Museum of Israeli Art, where a number
of exhibitions of Negev artists were held.
Then, being elected to the Jerusalem Artists' Organization, I
participated in a group show and a year later had a solo exhibition in
the Jerusalem Artists' House. I was told that this was the first
site of the Israel Museum before its present campus was built. I
am still waiting for an invitation to exhibit there as well as the
Tel-Aviv Museum of Art :-) .
Modern Impressionist painting and
impressionism in landscape painting and landscape paintings also has
elements of expressionism and/or expressionist tendencies contemporary
art. Figurative art and figurative painting is a non-abstract where the
paintings are a window to the world. Representational art and
representational paintings more specifically. Mystical Art and mystical
painting shows greater truth, the aim of mysticism and mystical art
being pointing to a greater reality. While painting art works of
landscape, landscape paintings provide an art world of plein air (plein
aire) vision. Indeed landscape painting in oil on canvas in the plein
air is an impressionist art. We must carry artisitic tradition forward
using together the lessons of Cezanne to create a new perspective of
volume and color on the painting surface. Time for reflection,
contemplation and observation of nature, form and space creates
heightened awareness of reality.
Spiritual Art is
painting which conjurs up the spiritual feelings from deep within, to
identify the spiritual manifested in all creation... allowing vibration
of colour influencing the psyche with a positive vibration to uplift
the spirit to new heights. The psychological affect of
colour is used to exalt the spirit.
The sky in paintings of sky and clouds:
the clouds are painted from living moving clouds whose life leaves
traces with the oil paint on the canvas.
The Sabra Cactus, known as prickly
pear, refers not only to the Sabra native born Israeli, yet to the
Sabra as a spiritual entity whose form suggest manifold visions.
Abstract and Figurative Art
On one level all art is abstract, for a painting to work, it must
have certain compositional
qualities of color, form, texture, light and shade (chiaoscuro), flow,
etc. whch are essentially abstract.
Yet, we often in our imagination see figures in abstract art.
The figurative has great hold on the mind, and I admit to my personal
near-enslavement to the form and figurative of the tangible.
Having said that, I have a great love and respect for good abstract
art, and indeed envy those artists who can produce from within
themselves
work which is freed from the form and figure, yet whose harmonies
trigger off such a wonderful reaction in the viewer.
Political Art....
Political art sees art as a means to improving the world.
This is generally by pointing out the wrongs and ills in society,
and as such is a protest. Yet it really doesn't do anything
about the situation.
Would nott those who make political art, if they are truly concerned
with improving the world, do better by engaging
in efficient social and political action to make the world a
better place?
Does this political art think that we don't already know the
defects of the world?
Outside of the political statement, does this art have an
inherent value of its own?
Is it's "political statement" just a gimmick to bring attention
to itself, to give itself an aura of importance?
Does it furthermore set up an atmosphere that says that
art must relate to to the "contemporary social reality"
and then denigrate art for art's sake as of being of no value or
relevance?.
Has this "political art' captured the art extablishment and installed
its own proponents as the curators,
critics and other art-world power possessing individuals?
Will the power-holding-individuals in the art world recognize a
painting which is art for art's sake?
If there is no social-political conotation, will they deny the work's
raison d'etre?
Is art for art's sake doomed?
You can make the difference!
Lao Tze is quoted as having said, "He who knows does not speak; he who
speaks does not know."
From all that I have said above, it should be clear that I know nothing.
The transcendental in art.
The sublime in art..
Yes ....
I like art to express and even communicate the transcendent and
trascendental. I have been told that the practice of
Transcendental Meditation
shows its influence in the work. The act of painting
itself is a mediation, and the viewing of art I think should
be a meditation as well.
For all the paintings:
please click
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