Mosaic master's work showcased in 'Dream'
Karan 'Sunjay' Rampall
Issue date: 4/17/09 Section: Arts & Entertainment
Isaiah's "Magic Garden" on the 1000 block of South St. offers a walk-in labyrinth of mosaic. The neighborhood itself is adorned with Isaiah's murals, illuminating back alleys and even the façade of Phil-A-Deli. Surely, you have seen his work - without even realizing it. His sincere love for his family comes out most honestly in the work. The family inspires the work, but is used only by virtue of their vicinity.
When speaking of her husband, Julia says in a thick, nasal New York drawl, "He doesn't want conversation; he just wants to live in his own world. The cement doesn't talk back."
In Isaiah's defense, as an artist he has the right to be bold. But being an artist is not an excuse for the betrayals evidenced here. In the work, all artistic work, there founders a hopeful resilience, which shapes the world in a manner that has unity and makes sense - in the work. Reality by comparison lacks unity, and there are many "isms" devoted to dealing with that unconnected nature of reality and its intrinsic irrelevance. Isaiah's art is a well-intentioned answer, but not a solution for his traumatic realities.
Having alienated himself from everyone, even from himself, Isaiah spends the length of the documentary trying to understand why he finds the process in the work so alluring. From the point of view of a creator, the work makes sense. Even reality makes sense, from God's point of view.
The mosaics are made out of shards of broken mirror, shattered ceramic tiles, empty wine bottles, and a motley assortment of found objects from his life glued back together in colored spackle and cement. The overt metaphor is evident here. Isaiah's mosaics are a backdrop for the realities of his turbulent family life. Seen from a distance, the bits of miscellany, like pixels in a digital image, imbue the viewer with a sense of awe.
It's said that the camera adds 10 pounds, but the colorful mosaics film well under the circumstances, or "video well." The documentary is shot on a digital HD camera. The aged and redeeming 8 mm and 16 mm home movie footage hold the most memorable moments. The documentary itself fares well. Jeremiah never resorts to making a hagiography of his father; the assessment is multiform.
Jeremiah Zagar is a talented filmmaker - he separates from the filial bond to his father by using clever edits and documentary narration only through his mother or father. This is done for measured effect to reserve judgment upon Isaiah. The presentation of life "as it is" is mired deep inside the documentary tradition.
Plus, the filmmaker has excellent taste in music that fits the film's aesthetic. The haunting soundtrack features: The Books, Explosions in the Sky, Bibio, Efterklang, Colleen and an original score by Kelli Scarr.
"In A Dream" is now playing at the Ritz at the Bourse Theatre.
When speaking of her husband, Julia says in a thick, nasal New York drawl, "He doesn't want conversation; he just wants to live in his own world. The cement doesn't talk back."
In Isaiah's defense, as an artist he has the right to be bold. But being an artist is not an excuse for the betrayals evidenced here. In the work, all artistic work, there founders a hopeful resilience, which shapes the world in a manner that has unity and makes sense - in the work. Reality by comparison lacks unity, and there are many "isms" devoted to dealing with that unconnected nature of reality and its intrinsic irrelevance. Isaiah's art is a well-intentioned answer, but not a solution for his traumatic realities.
Having alienated himself from everyone, even from himself, Isaiah spends the length of the documentary trying to understand why he finds the process in the work so alluring. From the point of view of a creator, the work makes sense. Even reality makes sense, from God's point of view.
The mosaics are made out of shards of broken mirror, shattered ceramic tiles, empty wine bottles, and a motley assortment of found objects from his life glued back together in colored spackle and cement. The overt metaphor is evident here. Isaiah's mosaics are a backdrop for the realities of his turbulent family life. Seen from a distance, the bits of miscellany, like pixels in a digital image, imbue the viewer with a sense of awe.
It's said that the camera adds 10 pounds, but the colorful mosaics film well under the circumstances, or "video well." The documentary is shot on a digital HD camera. The aged and redeeming 8 mm and 16 mm home movie footage hold the most memorable moments. The documentary itself fares well. Jeremiah never resorts to making a hagiography of his father; the assessment is multiform.
Jeremiah Zagar is a talented filmmaker - he separates from the filial bond to his father by using clever edits and documentary narration only through his mother or father. This is done for measured effect to reserve judgment upon Isaiah. The presentation of life "as it is" is mired deep inside the documentary tradition.
Plus, the filmmaker has excellent taste in music that fits the film's aesthetic. The haunting soundtrack features: The Books, Explosions in the Sky, Bibio, Efterklang, Colleen and an original score by Kelli Scarr.
"In A Dream" is now playing at the Ritz at the Bourse Theatre.
Viewing Comments 1 - 2 of 3
allerton
posted 4/17/09 @ 4:28 PM EST
"Magic Gardens" is misspelled on Page 2. URL to Isaiah's Magic Garden: http://www.philadelphiasmagicgardens.org/
The Triangle
posted 4/17/09 @ 4:39 PM EST
Fixed - Thanks for the heads up!
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