It is a measure of the man, of his internal honesty and truth, his modesty and humility. This is what gives him the ability to discover the beauty and wonder of every thing under the sun. Unlike others, Marek does not paint Marek. Marek himself does not exist: he paints what is outside himself.
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היכולת של מארק לחשוף את היופי ואת הפלא שבכל דבר תחת השמש היא תוצאה של צניﬠותו וﬠנוותנותו. מארק, להבדיל מאחרים, אינו מצייר את מארק. מארק אינו קיים. מארק מצייר את מה שקיים מחוצה לו.
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No, there is no doubt about the language of Marek Yanai: the emergence of something heroic, a direct way of looking at the world and of viewing it as a realm of light that can be tamed. Prometheus stole fire from the gods and turned it into a tool of craft; Marek Yanai “steals” the sun from them and transforms it into art.
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אין ספק לגבי שפתו של מארק ינאי: משהו הרואי ביציאתו החוצה, בהישרת המבט אל העולם, בהכרתו כמרחב של אור ובאילופו. פרומתאוס גנב את האש מהאלים והפכה לכלי-אוּמנות, ואילו מארק ינאי “גונב” מהם את השמש והופכה לאמנות.
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At first glance, Yanai’s paintings seems to have nothing special taking place in them, on the face of it, they present the permanent and the absolute. However, further and more discerning observation reveals their essential character: impressions and qualities of mystery and the cryptic whose subject is beyond the superficiality of reality and its matter. By his detailed observation, the artist achieves comprehension of the transient, the elusive, the transforming of reality, thus the viewer is obliged to a more strict, prolonged period of observation andto ‘surrender himself’ in order to try to decipher their secrets.
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At first glance, Yanai’s paintings seems to have nothing special taking place in them, on the face of it, they present the permanent and the absolute. However, further and more discerning observation reveals their essential character: impressions and qualities of mystery and the cryptic whose subject is beyond the superficiality of reality and its matter. By his detailed observation, the artist achieves comprehension of the transient, the elusive, the transforming of reality, thus the viewer is obliged to a more strict, prolonged period of observation andto ‘surrender himself’ in order to try to decipher their secrets.
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Marek has taught me how to look, how to feel the mystery of Jerusalem and the intensity of its sublime light – a light that dazzles the eyes and the soul, a transforming light. Like no other, he has the ability – like the Baudelaire of the Little Poems in Prose in “The Windows” – to let us know that behind partly open windows lie fabulous treasures that the viewer’s imagination must conjure up: “In that black or luminous square life lives, life dreams, life suffers.”
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Marek has taught me how to look, how to feel the mystery of Jerusalem and the intensity of its sublime light – a light that dazzles the eyes and the soul, a transforming light. Like no other, he has the ability – like the Baudelaire of the Little Poems in Prose in “The Windows” – to let us know that behind partly open windows lie fabulous treasures that the viewer’s imagination must conjure up: “In that black or luminous square life lives, life dreams, life suffers.”
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