Echo of eternity
Paolo San Vito
The concerns of Till Leeser’s work seem at first sight some of ancient art from Antiquity to the Renaissance: death and consumption, destruction; the fragility and transitivity of all things of which is made our world. An open reference to the work of ancient masters, espacially the painters, who dealt with this context of significance, such as vanitas-scenes, the circularity of the cycle of life, the phases of time (such as the seasons or the phases of the moon, et. sim.) is found in his own words. Leeser hints to some of them - although clearly not in order to simply present himself in continuity with them. The attraction to the ancient schools of painting from all over the world, which from the Dutch realism through Arcimboldo to even the Far-Eastern landscape masters is just too strong, for him as much as for the whole of Western civilization. They actually all root very deeply in our common, collective imagination - even the Japanese artists do, who since at least Impressionism influenced so strongly the Parisians, and therefore will never ever fall into oblivion.
But these concerns, as I said, are only apparently, at first glance, the same of Leeser’s Nature morte. His work goes a step further in its reflection of transitivity, to land on a territory outside of historical space and time.
There is an intrinsic recognition, a proper insight into the order, the logical, nearly mathematical discipline of all creation, of all nature in itself, constantly seeking for a re-setting of matter, of all materiality into a primary stage of quietness. A formal feature of the physical phenomenon of entropy: the Godhead of decomposition, of destruction, the ancient Greek Pluto, is also responsible for re-ordering all things in a dimension of systematicity, which is just the opposite of chaos. This way, the „disordered“ objects, even the remains of all dead beings, come back to a new „life“, at least in terms of their order: because we feel there is no order where there is no form of life - even if on a very reduced base, where liveliness has nearly completely disappeared. This is probably the reason why Leeser feels consolated by the perception of his own work, and of its sujet, its objects. One can envisage the rebirth of all dead, exactly while considering the traces left behind by death.
I could even hint to a sort of unplanned, involuntary return of transcendence, rebirth of all dead in the images.
And in considering this latter aspect, all memories of the ancients, of the former artistic schools and their different trends smoothly eclipse. They all do not talk to us any more, in comparison, as they violently bring back to the feeling of mortality, of the inexorable toughness of destiny. What instead, without reminding them, remains while looking at Leeser is a taste of eternity, of absoluteness - even if in a very mild, distant echo.