Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist
Born in Tel Aviv, Israel in 1996, Berlin-based artist Yam Shalev’s body of works is primarily inspired by his surroundings and the people around him. Regarding himself being more of an observer rather than a participator, Shalev finds comfort in documenting his surroundings and transferring emotional situations onto the canvas.
Shifting away from his usual hyper-realistic style of making art, the artist sought to return to his roots of painting with acrylic. Employing a technique of loose and precise brush strokes, Shalev creates a layer of depth in his works that is a semblance of the weight of his experiences.
Photos : Courtesy of Allouche Benias Gallery
Your journey from Tel Aviv to Berlin marks a significant transition. How has this
geographical shift influenced your artistic style and themes ?
I think firstly, and most importantly, the transition from Tel Aviv to Berlin changed my perception towards the arts and where I want to place myself within. As for my artistic direction, reflecting back on this transition, I realized that regardless of the fact that I kept changing my styles and themes, my art seemed to get more free and conscious at the same time.
There’s something very intimidating in the freedom Berlin can get one to experience, and this overwhelming freedom got me personally to reflect inward on myself and being more self reflective. Now in Paris, I feel like going through the same process again, but in a completely different way I’d say. It’s too early to articulate, though.
You describe yourself as more of an observer than a participant in the scenarios you find yourself in. Can you elaborate on how this perspective shapes your approach to art ?
In most experiences that I find either intriguing, interesting, triggering or just a moment that I remember vividly, I always find myself in some sort of bubble, observing the situation from the outside as if I’m completely disconnected. And whenever I’m about to approach a new painting or just sketching an idea, I’m automatically thrown to this place of the observer, subconsciously even. I’m enjoying taking part and being involved, but I’m mostly getting the best out of a situation once I get to really observe it rather than participate.
Regardless of the subject matter of a particular painting I’m working on, or rather, whether it’s a memory or an imaginary scenario, I feel that the composition is always revealing me as the observer. Although in recent works I find myself more and more participating, it's an interesting thing I’m exploring the moment. It was definitely a new, refreshing way to reflect on my paintings.
Your work often captures the intimate relationship with contemporary culture around food
and table settings. What draws you to these subjects, and what do they symbolize in your
work ?
I find myself reflecting on this question myself more and more lately. As a first instinct, I’d say it's got a lot to do with where I’m coming from and what "table" and “food” represent in my life.
Growing up in Israel with a very big but intimate family gets you around the table quite often, and that’s without mentioning that food's a big way to express love and affection in my homeland. It might be that the table was just a table. An object to paint.
But as I dove deeper into this subject, I found myself more interested in the object itself than the scenario and setup, especially the ones that I met in my every day routine. The table became just an outlet of expression in some point, and as it goes, I keep evaluating what is it that I really want to paint.
Now days, after some puzzling questions on that matter, I’m starting to break my own stigmas and barriers and letting myself get free from this subject in my painting.
You've mentioned a shift from hyperrealistic art to employing a technique of loose and precise brush strokes. What prompted this evolution in your style ?
I guess that I just got bored at some point. I’m seeking more and more freedom when I’m approaching a painting, aiming for a better relationship with the canvas and the materials rather than the final result. Hyperrealistic is a lot about concentration, precision and dedication while executing. Something I don't look for at the moment while painting.I’m feeling more self expressed and authentic while I’m letting go the preciseness of the object.
Feeling like I’m showing up more as myself. And getting more into an “action painting” was and still is something that I’m very much interested to take further in my practice. My favorite painting to look at is the one to explore the humanity within.
How do you see the role of colors and composition in conveying the emotional weight of your experiences through your art ?
I think it's a great deal in my art! I find that colors are a big subject in my paintings. And reflecting back on previous paintings, I can really trace places or states that I was according to the color's palette. I’m trying to be more conscious of it lately, especially about the aesthetic around me and the one I’m consuming. That’s mostly because my coloring is an intuitive act rather than how “it should be”.
Your paintings are rich in details yet devoid of human presence. What is the significance of
this absence, and how does it affect the viewer's engagement with your work ?
as mentioned before, I find myself mostly as an observer rather than a participant. It's got a lot to do with this and with the fact that I don’t find myself as an important character to deal with in my painting, although it’s been changing lately.
I’m now on the verge to discover myself more both in the imagery and in the scene itself.
You've explored themes related to celebratory, intimate, romantic, and vulnerable moments
through your paintings. Can you share how personal experiences influence your selection
of these themes ?
all of my paintings are about me, the people around me, and the experiences we share. Some are fiction, but even these are real enough in my head. Or just an inspiration, I guess.
I think personal experience is what defines us as individuals. And definitely influence our perception in all aspects. Lately, with everything that has happened and happening since October 7th, I find myself seeking more and more comfort and closeness with my identity and who I am and where I come from.
It’s a real identity crisis, but the one that brings you to your roots. I find myself keep visiting every week the same museum and running straight to the same room full of paintings by Chagall. I can’t explain it. But everything that happening really gets deep in me. And for some reason that’s where I find most comfort, surrounded by his paintings and feeling reassurance. It’s already slowly projecting in my paintings.
The act of painting seems to be a natural response for you to your surroundings. Could you describe your creative process from inspiration to the completion of a piece ?
Lately I got to understand that it is more thoughtful and reflective than I used to think before. I’m contemplating a lot. And I’m observing and reflecting a lot. Sometimes ideas or thoughts come instantly, and I get them straight to the sketchbook to continue reflecting on them there. But it’s mostly things that have been on my mind for some time already. Once there’s some sort of uncertainty, or I feel that there’s no default taking me in the direction I’m heading, then I know it’s something I’d love to paint. From this point, it’s very quick to the canvas
You've talked about the importance of authenticity and enjoyment in your artistic practice. How do you maintain these values in the evolving art world ?
The thing that works best for me is to moderate my exposure to the art world. And by that, I meant not only the physical world, where you go out and see exhibitions and meet people, but mostly social media. That’s only one aspect that keeps me focused. But I think it’s a constant inner battle I’m facing with myself to know when I should let go and loosen up once I’m getting too stiff in my practice or finding myself compromising while painting. It’s never-ending self-reassurance, I guess. It can never be perfect.
Some objects in your paintings carry cultural or biographical meanings. Can you discuss how you selected these objects and their significance?
I think that’s a more subconscious journey; I can’t pinpoint exactly. It’s always these objects around me. The one that usually gets out to the painting without even noticing.
Later on, I’d realize what it was all about. If I’m lucky, I love flowers. I’m collecting books. I’m a (what some people would consider heavy) smoker.
Naturally, all these will come to the canvas at some point eventually. While being a self-reflective painter (if I can say that), it’s inevitable to separate the objects and your surroundings that define you.
Living abroad has influenced your depiction of cultural identity through food. How do you balance this personal exploration with the universal appeal of your art ?
I guess I don’t. Or at least don’t think about it. I guess I’m just living freely around everything and letting in whatever needs to get in. I guess that’s all the fun about it, isn't it? :)
The absence of human figures in your work invites viewers to insert their own stories. What kind of dialogue do you hope to create between your art and its audience ?
I started with this comfort point, where I let people into my paintings, which helped me to explain to myself this limitation I embraced. Not having figures in the paintings. Now it’s changing. And hopefully, people will still be able to let themselves and their stories into the painting. If they want, of course.
Lately, I care less about it, and not from a place where I don’t care about how the viewer perceives and interacts with my work, but rather from a place where it’s less about leaving them the space, the "invitation,”, and just letting the painting be what it needed to be.
Finally, what are you exploring or experimenting with in your current or upcoming projects ?
Well, my next show will be at the Mindy Solomon Gallery in Miami, and for this show, I had more time for the preparation than what I usually have. It’s allowing me to really take the time and not rush anything. This year I fully transferred from acrylic to oil paint, and it will be the first time I’m showing oil painting. It’s a lot of fun and much to explore within the material and the execution. The whole show will be different from the previous ones. I’m excited :)
