Michal Shachnai Yacobi
Text from Art History Class.
The Gallery for Israeli Art at the Tivon Memorial Center, Kiryat Tivon.
Doron Wolf’s paintings require a lingering look to realize their full aspect. In his paintings, the array of objects looks arbitrary as an unintended snapshot of clutter left on the studio table. However, this is a symbolic and planned display referred to classical themes of ‘Still Life’ and ‘Vanities.’ His paintings are loaded with reflections and citations which combine high and low and subversive the notion of painting’s originality. The particular images were selected from various sources and recombined into a single composition. Oil painting is a practice that requires continuous and gradual work. Therefore, the combination with snapshot images and the making process of the painting signifies the tension between a fleeting moment to loiter examine; between a frenzied camera’s click and gentle and intimate staring while painting. In many of his paintings a white light spot is presented, reflecting the painter or photographer. The flashlight simultaneously blocks the sight as well as immortalizes the moment of taking the image. An additional object in many of Wolf’s paintings is the mirror; this object is also presented in referred works such as ‘Las Meninas’ and ‘The Arnolfini Portrait.’ Thus, the reflections in the mirror create infinite concatenation of the image, pointing to the same notion of genuine work and duplication.