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When Color meets Shape / Sara Bolotin

What happens when color meets shape and when one hand, and sometimes two with the help of the tool, the paintbrush, enables this meeting, while misleading, moving, straightening, sprinkling, etching, putting together and completing?What happens? It seems that this question was raised throughout the history of art, whether consciously or unconsciously, explicitly or implicitly, always around, still relevant and present in every new encounter.
Encounters between color – shape – soul – eye – artist – viewer always exist, but still, every such encounter is unique, carrying its metaphoric narrative, its revealed and invisible story, the story of the artist and the story being created by the viewer.
Bolotin takes the liberty of ruling the seas of colors and shapes, as she should. The colors and shapes comply, their magnitude being expressed, on the one hand, in their complete surrender to the whims of the artist, while, on the other, maintaining their inherent power. This is, in other words, the visual melody playing while a world of colors accepts the hand of the ‘conductress’ with her baton, the painting brush, creating the rhythm, the movement, the quantity and order, all these resulting in the harmony. “Color is the keyboard, the eyes are harmonies, the soul is the multi-stringed piano. The artist is the hand that plays, touching one key or another, causing a ripple in the soul.” (Wassily Kandinsky). Keeping the music metaphor in mind, we are treated to an excellent visual orchestra, pleasing the eye, while conveying a deep mental narrative, a form of the artist’s inner landscape.
These painting were part of group exhibitions, titled ‘Optimism, or ‘Na?ve Painting’; participating in such exhibitions carries the further meaning of these works, the optimism, naivet?, the joy of color and shape and the use of pure artistic language without the need for figurative metaphors. The language of art in its words – color, shape, space, texture and more – is expressed clearly.
Bolotin’s freedom is apparent in the manner she places the colors, in organizing the shape, choosing the colors and their interconnection; this liberty implies both order and disorder, the hand and paintbrush skimming freely above the canvas, navigating between the artist’s directions of liberty and order, between open borders and clear-cut lines. This is where color meets shape, resulting in a form of beauty.
The issue of beauty was discussed many times in the context of art and design: debating ‘The Position of Beauty in the Age of Design’, Gideon Ofrat argued that art always creates templates of beauty, whether willingly or unwillingly. Ultimately, even the anti-aesthetic approach in art leads to an aesthetic template, and the a-aesthetic approach in art – also affirms an aesthetic template, since art is an eternal spring of emerging and developing of beauty templates.
The body of Bolotin’s works offer the viewer a celebration of color, created by the dance of the paintbrush, charging the works with their power. As Delacroix famously said: “the first quality of a painting – is that it is a celebration for the eyes.”

dr. Nurit Cederbuim
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