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.