נחום מילר - לזיכרו
קישור לוויקיפדיה באנגלית לערך נחום מילר
לְנַחוּם בַּאֲשֶׁר הִנְּךָ
לזכרו של חברי נחום מילר הצייר
אֵיךְ הָלַכְתָּ לִי חָבֵר
ובלוריתך טִפָּה שֶׁל לֹבֶן לֹא יָדְעָה
מִנַּגָּנִים קטרוס וְגַם הַנּבל
אֶת הַשִּׁיר בְּעֶצֶב
וּמֵיתָרֵי לִבִּי פורטים אֶת הַצְּבָעִים
וּמִכְּחליִך מִתְעַנְּגִים עַל רֶקַע בַּד
וּמצַּיָּרִים צִיּוּר שֶׁלֹּא נִגְמַר
שֶׁיִּמָּשֵׁךְ לְנֶצַח נְצָחִים.
וְהָעֵינַיִם לֹא שובעות אֶת הַמַּבָּט
הֲלֹא הַיְנוּ אוֹ הִנְנוּ כְּמוֹ אַחִים
אַתָּה הָיִיתָ בְּדַרְכָּהּ שֶׁל תְּהִלָּה
וְכָל הַמַּבָּטִים שֶׁבּיקוּם נָעַצְתָּ
הָפְכוּ אֶת הַבַּדִים לָאַגָּדָה
מִתְנַגֶּנֶת לָהּ בַּלָּדָה בְּתוּגָה
וּבְלִבִּי פּוֹרֶצֶת לָהּ תְּפִלָּה
שֶׁאִי מִשָּׁם אַתָּה מַבִּיט וּמְחַיֵּך
אֶת הַחִיּוּךְ שֶׁלֹּא נִשְׁכַּח שֶׁלֹּא נִשְׁכַּח.
Nachume Miller at Donahue/Sosinski - Brief Article
Art in America, July, 2000 by Robert Kushner
What do you paint when you are creating the last paintings of your life? Nachume Miller's posthumous exhibition consisted of works he made while living with a brain tumor. They are consistent with his earlier work, but demonstrate a deeper level of conviction. Miller was never part of the international gallery circuit. He was a sincere, conscientious, satisfying painter who, with this last body of work, made a memorable and haunting evocation of the potential for transcendence.
Miller's paintings are about light--not white, diffused light, but rich, life-giving chroma. There are clumps of plantlike forms that might be mums, corals or even brain surfaces. Often the forms are blurred or redrawn, as if perceived through double vision. Most enigmatic are the radiant orbs that hover over the plants/corals. They are like varicolored beacons that shoot out laser rays of light, some of which touch the clusters below, while others reach unendingly into space. Certain orbs are luminous red, blue or pearly white, while others are a mysterious, velvety, seductive black, the sensuous light of negation. It is as if Miller had entered another state of consciousness and returned with his impressions intact and the determination to paint them all for others to see.
Are these apocalyptic beacons intended to be read as received messages? Visions of altered states brought on by the gradual deterioration of the artist's brain? Prayers for his salvation? Are they bestowing light or absorbing it? Creating connections or severing them? We will never know, as the artist left no notes, no titles, no clear indication of his intentions. If considered with a shred of empathy, these paintings return a uniquely rich combination of exhilaration and brave, bittersweet tragedy. The skill and urgency of Miller's final works make them deserving of serious attention as a vital testimony to a life well spent in the studio. Finally, these powerful paintings serve as documents of an individual's battle for survival that was unfortunately lost at the age of 49.