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Chaki’s country views refer to no particular place and thus cannot be compared to an actual scenery. A number of landscape items, trees, hills, streams, rivers, underbrush, lakes, rocks and mountains and many more constitute his vocabulary, which he arranges in an organic way. He creates images of an area in nature with surprisingly specific characteristics. The ‘spectator’ is faced with sun drenched hilly region, or with a lush wetland surrounding a lake, and other times with a tropical exuberance stretching all the way to the horizon.
Chaki’s art fuels the viewer’s imagination. The absence of precise models from which the landscapes are drawn does not diminish their veracity. Actual landscapes come in an infinity of variations from his brush. Chaki’s scenes tell us that they could very well exist in reality, if only one searched hard enough. There is an obvious truth emanating from these paintings, a truth that is achieved by the artist’s empathy with each and every element appearing in them. A tree verily becomes a tree and a hill a hill, not by obvious imitation, but through a flow of energy made visible by the artist.
In matters of execution and technique, the flower pieces are painted in a style similar to his landscapes, yet with substantially less restraint. His brush dances more wildly, his colors clash more noisily, his lines run about more freely. Chaki is emboldened to add collage to his repertory. The surfaces of the paintings are considerably enlivened by heavy texturing.
– Leo Rosshandler, I.A.A.C