The ocean beach waves seem blurry as they return again and again to the sandy beach. The light reflects from the moving surfaces.

Result #1

The ocean beach waves seem blurry as they return again and again to the sandy beach. The light reflects from the moving surfaces. But it never really catches up with the waves; the objects remain in a space that is still, and never quite fits. The objects, despite their displacement from a real spot, seem to float. The objects become reduced to the most basic of elements. There is no fixed point of view or spatial perspective; the lights are approximated by a camera. The image is never uniform; every object is seen in relation to the wall and to the water. In the landscape, the resolution of the object seems to be in relation to the passage of the spectator.These are views of appearances, of illusions. The illusionism of the object appears to be to be less than real. In the semi-romantic picture, the real remains that which seems unreal. Yet this quality is not a coincidence; it is the very quality of a real image that gives the objects real density. The very light brings to mind the world of things, the area of the picture plane. The light functions as a color in which the object and the space of the image intersect, of which the subject, the world, is distorted. The original object, in the process of being fragmented, becomes a fragment of a fragment of a fragment of the world. Only the flash of recognition that suddenly appears in the experience of the object is sufficient to restore the real world. The real object reveals the immaterial world, which in turn reveals its spiritual and transcendent nature. This is a penetrating analysis that is the path to a dialogue between the real world and its image.In spite of the fact that this is not a dialogue between two real objects, the viewer is attracted by the pictorial apparitions of the waves. The water seems suspended in space, a soft, opalescent colour; it is the same colour used in illusionistic paintings by the painters of the 60s, when they employed the repetition of color in order to remove the distinction between a painter and his illusion.

Result #2

A lonely beach ball is suspended just above the sand, its lighted shaft reflecting onto its surface. But one had to watch to see what the reflections would do. On the other hand, the one who would be watching the boat at the beach, seeing as she was, would only have to see the ball float so far. And that reflected light—the light of the sea—would then be in the face of the beach itself, the reflection of water on the sand. The sculpture was like an afterimage, an image that took on the quality of an image, and with that ineffable poetic resonance, it was like a gift from an alien being, a feeling not of presence, but of absence. The sun had set, but the waves continued. Without actually becoming an image, like a reflection, the waves were a presence that was present, but at the same time an absence.

Result #3

The ocean beach waves seem blurry as they return again and again to the sandy beach. The light reflects from the moving surfaces. An endless sea, the surfers themselves becoming increasingly thin, falling on the sand, as though disintegrating, a perfect melting point of sand. If they seem briefly uncomfortable at first, the sudden lucidity of the moving, flat, blue, wide light makes it seem as if the waves are great clouds moving across the surface, as if the waves themselves had dissolved. Then, after a few minutes, the skin of the seawater begins to show through the flow of the waves.The colors of the beach seem raw and desolate, as if there were some terrible volcanic eruption beneath it. The waves and ocean seem to communicate, communicating in a way that is completely opposite to the movement of waves and ocean in a gallery. In contrast to the monochromatic elements of the watercolors, the surfaces of these drawings seem to be melting and evaporating, as if the slide that swept up the island of Rann of the Tichòńsk had trampled on the beach.Tackliss drawings present a unique situation, one that combines images of the real and those of art. It is a world that has yet to be lived in. As they disappear into the ocean, the waves and ocean restore to the world their original state, and they become a living, intelligible language. This is the situation of the landscape paintings in which we are accustomed to finding symbols, symbols that are used in everyday life and art. But Tackliss drawings seem to be some dream of the artist, in which the elements that convey the image are the artworks themselves. The watercolors, which evoke slides through a camera, resemble a slide show, but are completely unrelated to the images of slides in which they are often used.The drawings that accompany the watercolors can be read as attempts to return to the elements of the image.

Result #4

The ocean beach waves seem blurry as they return again and again to the sandy beach. The light reflects from the moving surfaces. My imagination is on vacation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Result #5

The rays of sunlight are reflected on the beach. The waves make no sound. The ocean takes on an intimate meaning, rather than being presented as an image. The waves, whether created by an earthquake or a tidal wave, are in an intuitively generated state, as if the power of the subconscious was somehow exhausted, as if the unconscious had been defused and was itself, without a sound, absent. In the final analysis, they seem like modern sirens, in a state of suspended negotiation, and in this sense, they bear witness to the destruction of the world. When the waves cease, all that remains is a faint sea.