I think I can guess why these paintings found such an understanding audience. It’s because they tap into a modern theme, controversy to some; because this is relevant art with political and social overtones — probably not the first topics arising in our minds when confronted with still life. But in this case (well, maybe in most) it’s best to look first and think next, — in other words, shed the preconditions of the genre. Still life painters usually seeks to highlight the aesthetics of the subjects, reshuffling composition, color, perspective and other elements, and, so does the artist here. But by including a piece of plastic, she evokes a string of current issues and interweaves them into the aesthetic processing. As a result, the viewers get the bonus of being challenged with the aesthetics of modern living — and in an aesthetic way too.
Looking at these piece brings to mind the agendas of recycling, suffocation of nature and depletion and exploitation of natural resources. On the other hand, the sheer mastery of execution isolates a sudden beauty: these plastic bags are simply pleasing to the eye. And yes, we lead a good and easy life by all conceivable standards, we can afford indulging in an artistic appreciation of such a mundane subject, which all the while threatens to cut short that lifestyle — and hence the controversy mentioned in the first paragraph. This is a thinking people’s art. It offers two often clashing perspectives and it doesn’t offer a compromise; it doesn’t even push towards one, but it exposes the public to the difficulties in seeking and achieving it. No answers, but the questions in their fullest and most penetrating form: the artist reveals the complexity and moral ambiguity of modern living.
But lets talk some basics too. If these interpretations have any real meaning it’s because the paintings they are based upon demonstrate the technical prowess of a virtuoso. Countless photographically accurately rendered creases, along with complex alternations of gray and white, accompanied by the hazed color of the bags’ contents, all in seemingly random and loose arrangements create an unexpected (and overwhelming) effect of liberation and daring. There is something provocative about the compositions. It may be the decision to keep the fruit — usually the central object — mostly off the center, allowing the plastic to wiggle freely right in the middle, or perhaps the lack of a definite shape and figuration, also the result of the plastic wrapping. What eventually comes to mind is that although we are not used to talk about avant-guard discussing still life, this is exactly what is going on in these series.