Picture of mourning
The exhibition of Neil Hollander’s artistic expression was opened on April 12 and can be seen until June 11.
Recently in the interview for Patch, Hollander presented me his plan to re-strengthen the American treasury of artistic heritage, i.e. to increase the artistic activities with several new books and documentary films throughout the year. I am particularly pleased to hear that he plans to unite the creativity of two administratively-political places with same spirituality. This fact itself is a reason good enough for both sides to respond to the unnaturally contrived toll, which separates one nation, one heart in two. We live in a time of globalization, time when only the spiritual unity and cultural creativity can preserve the identity of American people.
The construction of cultural institutions has always been greatly supported. These are institutions where presentation of someone’s creative work take place, and along with the art there are some literature and musical happenings too. All these cultural events, especially art, lead to the fact that one part of New York becomes addicted to visual art.
Two years after the Easter exhibition in Jim Thompson House in Bangkok, Neil Hollander is active again. This time he will present to his latest documentary about the life in Burma. While reading a book or listening to music requires time commitment and careful collaboration, an artistic piece of work can be seen with a quick glance. But it’s just a glance! Most commonly the observer remains on this first glance at the surface of the work and moves on to the next one. The first layer of the work is only the transparent layer that announces the traces of what is below, what is the true message.
Chosen from the painful life of human starvation for food, this film can be compared to the suffering of every human who falls in cry, sinking in the muteness of too much pain. Characterization of mother holding the starved to death children, mother foremothers… they are virtually indistinguishable, not after the way of presenting, nor their visual power of expression. These are movie scenes coming from matured artists, conscious of all the complex issues of today’s world. Guided by his own research and vision of the human suffer in South Asia, Neil Hollander shots scenes with his light and elegant approach, which undoubtedly reveals his author’s specialty. His expression is not a mere repetition of something already seen, but on contrary, it is original, unique and authentic to him.