Third Kiss Blues

The painting "Third Kiss Blues" was commissioned by the Israeli National Bank, Bank Leumi, for the Secret Exhibition, which took place in Tel Aviv during the month of December 2009. Fifteen young artists were commissioned to paint their own interpretation of the poem Third Kiss Blues, written by Ronny Someck, a world-renowned Israeli poet. These paintings were to be hung in the Secret Exhibition, a unique exhibition that has gained, during the last four years, a great status in the Israeli art arena. Based on the concept initiated by the Royal College of Art in London, established artists display their artworks amongst emerging artists, while all the artworks are unsigned. This gives a great platform for emerging artists to be appreciated for the mere qualities of one's work, rather than by influences of the reputation gained in the past. This also enables well known artists to support young artists and the community, as the works are priced moderately.

Fifteen emerging artists were asked to paint their own interpretation of the poem, me included. Canvases were given, sized 60 by 60 centimeters. I had about four weeks to put myself into the canvas, and so I immediately, even before knowing what my interpretation is going to look like, painted the canvas with a rich black layer, to be partially dry only a week later. During this week I read the poem over and over, and tried to see what emotions it evoked within me. The poem talks about the poet's experience as a youngster, kissing a girl for his third time, as he states, "She was almost the first". This girl he kisses is much more experienced than him, and it seemed to me that that must be shown in the painting, as the poet indicates that for her, he was probably number 306.

Though the poem is written in a modern style, and the fragmentation of the lines is one of the things that give it its beauty, I did try to "gather" the information given to me about the settings of the kiss. It took place during sunset, and next to the agricultural school's fence. I concluded that I will paint scenery that will resemble agricultural schools in Israel, with a water tower in the background. I seek to make the location somewhat realistic and therefore looked for pictures that portray the first and most important agricultural school in Israel, Mikve Israel. I studied its entry gate and the stone wall and decided to incorporate it into the painting. As the kiss takes place during sunset, and as the poet indicates in a beautiful manner that the clouds were reluctantly forcing the sun into the sea, I made sure to include this too in the painting.

Finally, I had to think of the appropriate color scheme. I knew I wanted for the painting to look modern, and not naïve. I thought that I should leave a lot of black areas on the canvas, yet at the same time have it radiate with color. I thought of the romance in the poem, and then of its name: Blues. Then it immediately dawned on me that I must paint the painting in hues of blue. Blue felt romantic to me, and also gave the painting a feeling of an old memory from years ago.

And so I moved forward and started working on what was soon to become one of my favorite paintings. I enjoyed finding proper models for the painting, as I wanted the figures to seem partially realistic. It was a challenge painting with only blue and white, while using the black surface underneath. I tried to have the brush strokes prominent in several areas, such as in the shoulder of the boy, and the arm of the girl. It was a unique experience, and it reminded me of the days in which I painted models rigorously during my art studies at Pearson College. I remembered how I used to bribe friends to come and model for me in the art room facing beautiful Pedder Bay.

The skies in the painting were to complement the couple and balance the composition. In some ways I wanted for the clouds to seem as curtains for the scene, somewhat like in a theatre. The sun, as well as the reflection in the sea, were given the thickest layer of white oil paint, in a way making it unclear whether it is a sunset, a sunrise, or simply the sun finding refuge from the heat it generates in the cool water.
The palm trees, marking the road of Mikve Israel, were left mostly black, and only in the aftermath I realized that they resemble fireworks, at least to me. It seemed fitting, as I wanted this experience, of the kiss, to seem a joyous memory.

After it dried, the painting was transported and displayed in the Secret Exhibition amongst the other fourteen paintings, and won considerable attention. I found it alarmingly enjoyable to stand from afar and to hear the positive comments people had about the painting. I enjoyed the fact it seemed to me complex yet naïve. The golden trim that I love was shining in the light, and the qualities of the oils were evident from afar. Following the end of the exhibition, I was pleased to hear that the painting had sold in the silent auction for a pleasing price. Later I found that the painting made its way to the home of a couple where they find the painting moving and spell-binding. And so, the Third Kiss Blues found its place where it rests until this very day.

Jonathan Kis-Lev

January 4th 2010.