Revista Niram Art Website
Baruch Elron existed so that he could live close to us. Life helped him to realize that the natural order of the things represents a challenge with a view to discovering the opposites, giving birth to the concept called „the natural disorder of the things”. According to Baruch Elron the color could be „read” as if it stood for a declaration of the onlookers’ rights.
It entitles him to promulgate the barbarous associations of the bright, raw, violent colors smoothed only by the movement of the lines towards the voluptuousness of the shapes and the combination of the real with the fantastic. Flying hands, bottles with breasts, pears with bikini, bullet-shaped egg etc.
Baruch Elron’s world is not ours. Actually, it gathers all the possible worlds into a single one, especially the impossible ones. Imagination that upholds this adventure of shape and color is in fact the breath that keeps us alive.
Baruch Elron does not look around him in order to paint what he can see, he owns that incredible force of preserving in his mind everything that belongs to this world, to create parallel worlds, worlds dedicated not only to shapes, but especially to emotions. Therefore, the trees have legs and try to make visible the wind that moves them on the rhythm of the dance or take part in the erotic scenes of the Nature. Being metamorphosed into young men and women hungry for love, the instruments come to life, offering the onlooker the image of the winged palm and of the handed leg, playing the cello, or the image of a hand writing its score and emerging from a winged trombone. We can still admire a file of trumpets walking on the fingers that come out of them, while through their mouth pipes a furnace smoke turns up, thus giving a reason for movement. This painting cannot be otherwise than unique, as long as Baruch Elron existed only once for ever.
We meet fish everywhere, either squeezed through the branches of the trees, or hanging by the necklace of some voluptuous women with breasts as free as the leaves painted while inevitably falling down. Candles also represent a well-studied theme. They borrow the faces of the old men for whom decomposition seems natural by the time the flame melts the wax and deposits it in layers, thus suggesting the white hair of the old age or the knotty fingers that can also be used as feet for a round-shouldered body.
Fish, clocks, flowers, sandglasses, egg, woman, birds, trees, musical instruments, biblical scenes narrated by means of the 20th century, beaked, footed and winged eyes, winged hands, candles burning within the shells of some broken eggs, coupled swans. In a visibly erotic dance with the woman of his dreams there are the bricks on which he builds his own world, a world offered to us as a refuge, as an extra chance to protect ourselves from what we do not like, from events that we do not want to happen.
Baruch Elron, through his motifs, tries and even succeeds in having a good command of a series of concepts such as time and space, imposing on us, the onlookers, new manners and a new way of assimilating a reality that, even if it does not have to do with that reality to which we are considered to be contributors, all it can do is to use it as a reference system.
Thus, one discovers a world of Baruch Elron that is impossible in the same degree in which it is real, that is incredible in the same degree in which it seems natural to the people that are willing to accept the real as a direct change of the imaginary.
Surrealism offers Baruch Elron the ground on which he managed to build up his own identity, to make his dream come true in such a way that he was able to produce one of the most touching story of love, life, death, so that nobody may be hurt, so that not even an eye, be it winged as well, may shed tears.
Baruch Elron’s painting is becoming more and more lively, fleshy, dynamic, waving, more and more dominated, managing to create the obsession of the impossible that finally turns into possible. Obviously, this time, with other means that those used by the uninspired governments for instance.