ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 3

In this issue Jack Rosenberg Tatawa (Wei Tan) Anita Le Sech Lael Burns Joshua Healey Lapena Mona Niko Sandra Janjatovic Lisa Birke Tatawa (Wei Tan) Serbia United Kingdom Germany At the very beginning of my exploration in the field of art I developed an affinity towards abstraction and abstract expression. Even when we had a classical study of human body as an assignment, I gravitated to its abstracting by painting close-ups of various parts of the body. In that way, I started to develop a painting of amorphic forms that fill up the space of canvas. During the exploration of amorphousness of the nature that surround us, I worked in different mediums like painting, sculpture, installation, video animation, photography… The main theme of my artworks is motion, motion in nature and its laws. I found similar patterns in motion of the water, and its resistance to objects, in motion of smoke and its resistance to particulate matter, even in the behavior of gravitational waves. Recently my attention is attracted by the Einstein’s theory of gravitational waves, which is the main theme of the video animation. In this artwork, we can feel the forces that fill the so called empty space of universe, and make the planets move in their orbits. The mystical sound that contribute to that feeling is the sound recorded by NASA’s Voyager, the sound of electromagnetic fields of Jupiter. Our universe is not empty and silent. Time-Image and Movement-Image series are practically an attempt to capture live Butoh dance performance into the continuity of movement contained within a single image plane rather than such movement being described through a succession of discreet and static moments or images. Being receptive to chance and accident opens possibility for the production of the new experience of the in-between stages of movement as a whole. Time- image is an image which is infused with time. In order to invite discovery, creative discourse must bridge multiple areas of interests and fields of study, and I use everything that I know and record. I begin by looking at options, which is different from acting at random; learning to see by thinking and feeling more complexly about visibility… While representational techniques may be part of my skill set, for me, artmaking is a "flexible instrument," a developmental tool, a way of mapping thinking that can be circuitous, improvisational, or highly structured. Drawing helps me to record events and ideas and share them with someone else. It can be a container for curiosity, banking undeveloped ideas to percolate into something later. Tatawa’s art is an act of self- revelation through improvisation. Each artwork is a journal entry where outer influences are purged and inner responses are confessed. Like making soup, materials are thrown onto the canvas and mixed together through spontaneous gesture. Often a period of mindless doodling is carried out before the painting emerges with an unexpected coherence. Influences of sight and sound are exposed: the colour of a coffee mug, the shape of a distant hill, the meow of a cat, the piano playing next door. The process of improvisation allows each layer of influence to be shredded until the limitation of habit is revealed. This limitation is then challenged so that each painting is a set of broken habits. Tatawa’s commitment to authenticity results in an inconsistency in style. Each day a new character emerges and the old one disappears like shredding skin. The only constant is the desire to truthfully express the fluctuation of current states. Irena Romendik Sandra Janjatovic Caren Kinne 4 24 46 64 88 116 130 156 176 Special thanks to: Charlotte Seegers, Martin Gantman, Krzysztof Kaczmar, Tracey Snelling, Nicolas Vionnet, Gene ٥ٔɔAɽ ɥѽȁ5͠A)5ɥ币]屑Ȱ5儁YɄAȰ5ɥ=չ)!!͕MɱЁ ݵeeɬQ典)ȁͭ٥-͕MȁIЁ͍݅ѹȸ