The Indiana Fire Service Hot
Shots Website.
Article Title
Northeast Indiana Public Safety complex held their grand
opening event this past weekend. Chief Bobby Halton, Editor of Fire
Engineering along with Indiana Firefighter Training System Branch Chief
John Buckman presented two educational offerings.
Artist Michael Israel a world renowned artist kicked off the opening
event with a presentation of his heroes painting.
The New Renaissance
If art is the expression of the human soul, then the highest, most noble
aspiration is that art enrich and empower humanity. What if a new art
renaissance came about where art's purpose was not only to educate,
inspire, and entertain, but to a greater extent, eradicate disease,
assist disaster victims and provide assistance to any number of other
gallant endeavors? Da Vinci showed us that art could help answer
questions which science alone cannot.
The artistic expression of painting has evolved and taken shape in many
forms throughout history. Painting, like fashion, seems to have certain
popular styles, to which the majority of painters subscribe and follow their own interpretation. It makes sense, as the movement and its
methods are taught and are also widely approved by critics, historians,
and patrons alike. But what if it became fashionable for the message to
be more important than method and medium?
"Great art reaches beyond the senses and sensibilities to touch the
soul." -Michael Israel.
Too often we assume all similar vehicles carry the same message.
Certainly without an enticing and novel method and medium, an artist's
message would go largely unnoticed. Throughout history there are a few
who dare to stand out from the pack. Those who, for whatever compelling
reasons, have opted to step away from the accepted standard to create
something novel and original. Despite resistance from those who have
yet to comprehend a new style, a handful of artists have followed their
vision to break new ground. These artists have proven to be the
innovators who have been responsible for the evolution of art.
As late as the end of the 19th century, artists were experimenting with
new ideas, breaking away from the accepted norm of academic Realism.
Edouard Manet chose to paint the way he preferred, rather than in the
style others deemed acceptable. His ideas became Impressionism as we
know, and revere it, today. Monet, Pissarro, Renoir and others worked
in the same fashion, opting to capture the transient effects of light
and color of a subject rather than to paint it with perfect, realistic
precision, as was the accepted practice. Dedicated to their art, these
artists continued to paint the same subjects and scenes at different
times of the day and thus in different light, without apparent regard
for the opinions of their critics.
Later still, in the 1940's, artists like Mark Rothko and Jackson Pollock
pioneered Abstract Expressionism, dismissing not only the idea that art
must stem from nature, but that art might not need to be about any
particular subject at all. Rather than merely depict images, Abstract artists worked to evoke thoughts, feelings, or emotions. No one knew how
to interpret the work, some of which seemed to be a mottled mix of
drips, drabs and slashes. Yet today, decades after his demise, it may
be difficult for anyone to look at Pollock's massive Number 1, 1950
(also known as Lavender Mist) without forming an opinion or experiencing
emotion on some level.
For more than 4 decades, beginning as a child in the early 60's on the
walls of his parent's home, Michael Israel has ventured beyond the
traditional and accepted styles and "norms" of art. Since then Michael's
work has touched millions. He has shared limelight with celebrities,
CEO's of Fortune 500 companies, and world leaders alike. He has painted
and presented at some of the world's grandest venues including Grimaldi
Fourm in Monte Carlo, the Olympic Medals stage in Salt Lake, and
presidential events in Washington DC. Michael has helped inspire
compassion and bring millions of dollars in support for numerous
charities. One might wonder, then, how his contributions might be
perceived in the future. Has society progressed so that a burgeoning
artist might be recognized as a visionary with new, exhilarating facets
to his work that might be viewed as insightful and revolutionary? Or
rather, must he follow in the footsteps of his artistic forefathers,
struggling for acceptance from a world largely refusing to widen its
scope? Indeed, Israel's work moves far beyond the act of painting and
the final result of what is achieved on canvas. Yet, if only those
portions of his work are considered, he may well be keeping company with
some of the most brilliant artists.
And while our First Amendment guarantees us the right to make any
statement we wish, Michael believes that such freedom comes with the
moral obligation to use it for good purpose and not sensationalism and
vulgarity for the sake of profit and greed. So, how can emotional and
social value be heightened? If painting is the expression, and a canvas
is consistently the same flat format, how can one hope to move beyond
the traditional limitations of his art?
Michael Israel, it seems, has found precisely that answer. For him, the
act of painting is just one component of his artistic expression in a
fervently charged performance, one in which his audience is very much a
part of the process. To date, there may not be a specific definition
for Israel's work. Is it a performance? Is he a painter in the
artistic sense? Is it a concert? A social commentary? An experience?
The answers are all emphatically yes, yes, yes, yes and yes. It is all
of those things and more. Michael Israel is an anomaly.
To experience his work is to be swept up in a fantastic maelstrom of
emotion, to give in to the electrifying current of energy coursing
between artist and observer. His performance encompasses a multitude of
components. The initial and most obvious being the heart-pounding music,
pulsing and reverberating, crescendos highlighting Michael's performance in perfect unison to his strokes,
sometimes with double fisted paint
brushes, others with only his hands. As he spins his canvas, round and
round, back and forth, the audience is mesmerized, curious as to what
his movements and strokes will reveal. Michael Israel, lithe and
athletic, uses his whole body in what seems to be a magical, lyrical,
exuberant dance, pulling his audience in as part of a heightened
experience. To witness him in action is to think that he personifies
the concept of kinetic art. it is that and more, which defies
definition. As his program builds to a booming, thrilling conclusion,
audience members are left exhilarated and fulfilled, having been
captivated by his hypnotic performance. Far more than an up-side-down
portrait or abstract splashes Michael's presentation exudes originality
and significance.
Possibly it is Michael's innate ability to delve into each creation,
through movement and music that delivers a message more profound than
any still piece of imagery could begin to convey. Passion for his work,
and compassion for a cause fuse together for an energy that begs
enlightenment and understanding on a new plateau. To witness any of
Michael Israel's programs is to surrender to the energy, the
exhilaration, and the unmitigated emotion generated by his unique style.
Though Michael has paved the way for others, one must only experience
his performance to realize that it is an emotional odyssey like no
other, the result of which is a newfound insight into that particular
cause, and it touches each member of the audience on a personal level.
For charities, Michael's performances raise awareness, goodwill, and
funds on a grand scale. Certainly, these achievements alone are the
purpose in orchestrating such events and yet, through Michael's moving,
compelling program, he reaches beyond the usual altruistic endeavors and
reaches a little more deeply, clearly, and honestly on a more personal
scope.
Whether he is performing for Special Olympics, the American Red Cross,
Susan G. Koman Breast Cancer Foundation, City of Hope, or countless
other charitable organizations, one thing is certain, Michael Israel
knows how to reach his audience, and he touches boldly, deeply, and
succinctly. His generosity and compassion are evident and make for a
rewarding experience for all.
Clearly, Michael Israel has transcended the boundaries suffered by
painters of the past. His work, both during the process, the
performance, and subsequently in the end result of the composition have
proven to reach out to his audience, embrace them, and thereby evoking
feeling and emotion. Will this concept go down in history as the next
chapter to ultimately be praised and followed? Hopefully those
emulating his movements and technique will in the process discover: it
is not the paint that lands on the canvas or how high you jump that is
significant but the message that lands on the heart and how it empowers
others.
Return
to Home Page
This Site was last
updated:
Tuesday, February 12, 2008 05:45 PM
Email your submissions to
Jim:
infs_hotshots at insightbb.com
